Jeanskynebu
the audience applauded
Stevecorp
Don't listen to the negative reviews
DubyaHan
The movie is wildly uneven but lively and timely - in its own surreal way
brannonhungness
It isn't very often that I want to keep watching a film over and over again.This is one of those kinds of films.
morrison-dylan-fan
Despite having heard Alan Jones mention their debut film on the audio commentary for Dario Argento's Tenebre.I have never got round to seeing co-writers/co-directors Bruno Forzani & Hélène Cattet's Giallo homage Amer.Taking a look at Netflix UK recently,I was happily caught by surprise,when I stumbled upon the second Giallo that the team have made,which led to me getting ready to find out what strange colour the tears are.The plot:Getting off the plane, Dan Kristensen tries to ring his wife Edwige to announce that he has come back,but keeps going to the voice message.Returning home,Kristensen is horrified to discover that Edwige has completely disappeared.Contacting the cops, Kristensen finds himself being viewed as the lead suspect.As the cops keep their eyes on him, Kristensen begins to take a close look at his neighbours,whose strange behaviour he suspects may be linked to Edwige's disappearance.View on the film:For the first 30 minutes,the screenplay by Hélène Cattet & Bruno Forzani cross jagged surrealism with a Giallo elegance,with fragmented flashbacks uncovering what (may have) happened to Edwige,and also the brutal events which has led to the neighbours being gripped by fear.As Kristensen starts taking a closer look at the people next door,the writers sadly lose focus on keeping the Giallo mystery on track,with Kristensen's investigation into his Edwige's vices leading him into stranger,more obscure areas.Whilst Kristensen's search for his wife leads to some visually striking moments, Cattet & Forzani's decision to push the mystery to the side leads to them lacking any feeling of uncovering a clue,and also leads the progression into more fractured images to feel disconnected from Kristensen's mindset.Although they struggle to get a grip on the direction of the film, Cattet & Forzani offer delightful nods to the gialli of the past,which go from an amazing soundtrack filled with past gialli themes,to ultra stylised reflecting shots allowing the gialli of the past to be seen in the strange tears.
sgcim
I'm reviewing this one so you don't waste your time thinking that you're actually going to see a film with a coherent plot. It's the exact same thing as "Amer", also made by these two film makers. Like Amer, it also uses the visuals of a giallo; erotic fantasies, sexless figures in trench coats, hats and sunglasses, razor blades, blood, knives in the head, etc... It uses some themes from the film scores of Bruno Nicolai, EM, etc..., but don't expect any plot you can follow. I won't even bother to rate this film, because it's one of those avant-garde exercises, like twelve-tone music, that you either like or dislike, and no amount of arguing is ever going to change the mind of the people that like this type of thing. Just don't blame me if you wind up like me, watching over an hour of this film before realizing that you're never going to find out who the killer is, who the victim was, who the characters are- even what reality is.
emeinrath-946-615976
This type of movie has a name : masturbation! A bad mix between Belgian "arty" cinema, Lynch, Cronenberg, … without talent! And most of all without script!This is typical of directors who want to show their visual talent without any idea of a story to tell.And don't get abused, you won't see anything that you haven't before. Even on the visual aspect talent is not a word that concerns that movie. More technical abilities we should say… so what's the point???Yes gentlemen directors of this movie (if we shall call it so); go and see Videodrome! That's a weird visual movie, yes! But it has a script, yes!The worst in all this is that people get money to spend to do that kind of things. It is a BAD thing for Belgian cinema!Avoid!!!
