Hélène Cattet & Bruno Forzani – L’étrange couleur des larmes de ton corps AKA The Strange Colour Of Your Body’s Tears (2013)

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Some movies are watched. “The Strange Color Of Your Body’s Tears” is a movie you live inside. This new film from directors Helene Cattet and Bruno Forzani touches you repeatedly, inappropriately, from the front and, delightfully, from the rear. To synopsize the film is folly, though it will be fun to see viewers try. This is the magic that Cattet and Forzani have weaved from their debut effort “Amer,” a hypnotic trip down the giallo rabbit hole. Very few filmmakers today are working with a radical new vocabulary, but Cattet and Forzani are using genre of the past to toss us, shouting, into the future. Continue reading

Helene Cattet and Bruno Forzani – Amer [+Extras] (2009)

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from link

Amer moves relentlessly and dissonantly, and practically sans dialogue. In a gorgeous Italian manse, curiosity threatens to get the better of young Ana, tormented by the unknowable and what it reveals—or doesn’t, as is the case much of the time here. Running from the clutches of the strange woman who catches her hovering over the body of the dead man who appears to be the girl’s grandfather, she runs upstairs to her parents only to find them fucking. The camera shows them every way but upside down, bathed in green, then red, then blue—a show of grossly horned-up excitement meant to be absorbed like a blunt-force trauma. And once Ana has dutifully internalized their freakish sexcapade (her wide eyes tell no lies), it’s back to avoiding the perpetually leering gaze—and sinister clawing—of the woman who lives in the room adjacent to her sparely furnished own. Will the pocket watch she pulls from her grandfather’s brittle clutches save her or will her veiled tormentress simply use it as a means of dragging her to hell? Continue reading

Hélène Cattet & Bruno Forzani – Chambre jaune (2002)

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The Giallo film reinvented as an experimental S&M-tinged fever dream, told through a combination of color-gelled cinematography and jump-cut photographs, infused with dark sensuality and perverse cruelty. The short films of the directors of Amer are technically rawer than that film, but they show what was to come in terms of themes based on giallo films and an abstract style, from the use of still frames like in Chris Marker’s La Jetee to harsh coloured lighting. They are worth seeing by themselves as a refining of their ideas into a fantastic debut feature film. Continue reading