Tag Archives: art house

Amer (2009)

Director: Helene Cattet, Bruno Forzani.
Starring: Charlotte Eugene-Guibbaud, Cassandra Foret, Marie Bos, Bianca, Maria D’Amato, Harry Cleven, Delphine Crual Belgium/France. 1h 30m.

There has been a lot of talk about this being the beginning of a new wave of Giallo, for a lover of the macabre like myself this was immensely exciting news. I have been into Giallo for a long time now, and while I find new oddities from time to time, it’s getting rarer so to experience new films from the eccentric genre, I eagerly sought out these new wave films.

I was pleasantly surprised not only does the movie has heavy Giallo imagery the story is somewhat diverse, more experimental and a feast of the senses but not entirely Giallie, but something more avant garde that i found myself submerged in. The story is all about Ana and her development from a curious youngster who blossoms into a stunning temptress with dark secrets.

The film is cleverly divided between three distinct sections, the first shows Ana as a plucky little tyke, played by Cassandra Forêt, she crept around the dark mansion, a shadowy figure, possibly her grandmother skulks around with a heavy mantilla layered with black lace, awaiting the death of her husband who’s resting in one of the many bedrooms. the chapter is presented in extremely dark primary colours, flashing light to dark and contrasted to the highest levels, eyes are key here, they are staring from every corner, constantly watching the girl.. Ana is after his pocket watch and fully aware that the shadowy figure is keeping a close eye on her, rooms are locked with heavy keys and eyes are often staring through keyholes, but she managed to get her hands on his watch by using a gold cross to break his post mortem, arthritic hands and is then attacked by the dark covered hands of her grandmother, while running away she bursts in on her parents having some pretty rough sex, and is obviously affected for life.

During the brighter second chapter Ana is now older, a teenager who is beginning to realise that she’s desired.. while accompanying her mother to the hair salon in the local village, the sun shines on them, and through the active camera and vivid sounds again the senses are alive with motion, sounds so crisp and loud that the force all of the senses into action Ana is painfully aware of her mother’s aging, she slips while walking in her heels, isn’t her hair a little greyer? Ana, now played by Charlotte Eugène Guibeaud notices people lurking in the shadows, watching her, when asked to wait outside with the other children she stumbles on a group of bikers and begins to parade herself in front of them when she’s slapped into reality by her mother and they return home, but it’s clear to see that she likes the bad boy influence.

In the final chapter, the now adult Ana has morphed into Marie Bos and is taking the arduous trip back to her now dilapidated family home, the taxi driver dons his black leather gloves and switches on a tiny fan, the seat burns her legs and she opens the window while noticing that the driver is eye banging her. While making herself at home she notices that the taxi driver has returned and another dark figure with black gloves and a razorblade. This final throw of the movie is the closest to the Giallo flavour which the film is famed for having the night scenes look as if they have fallen straight out of the heights of Gialloism. If you give the movie a chance and feel it as much as watching it, there’s a chance you’ll get a taste for it’s deep psycho sexual flavours and deep terrifying puzzles. Amer is a prolonged tease, certainly something to get fully immersed into and not to be taken lightly.

It’s strange and disturbing, a total tantalizing for all the sense, an experience more than a movie, clearly crafted in highly unique chapters by Hélène Cattet and Bruno Forzani, a pair of directors who cut no corners and went full throttle into this deep mystery. But this was only their first step into the strange unknown, they later went onto create something a step closer away from a narrative in The Strange Color of Your Body’s Tears in 2013 and then Let the Corpses Tan in 2017.

To pin down the film will only do it injustice as conjure a rare fantasy world and phantoms which cannot be described but picked out from between the fabric of the movie itself.

The film is simply another wild ride of the new wave of Giallo which will hopefully start to pick up pace or at least be propped up by many more titles from this fearless duo.

Rating 8/10

RThe strange colours of your body’s tears (2013), Tulpa (2012), Let the Corpses Tan (2017)
L – New Wave of Giallo

Post Discussion

Sleep Has Her House (2017)

Director/Producer/Writer/Music/Cinematography: Scott Barley
UK 1h 30m

It’s not often I get so excited to write about a movie wanting to say so much about it what most would see as being so little.

The cover alone of Sleep Has Her House (2017) was enough to tweak me into signing up to Kinoscope and taking quality time out to submerge myself into this advantageous one man project. The experience was deep and moving, this totally experimental adventure really crawls under the skin. Continue reading Sleep Has Her House (2017)

Angst / Fear (1983)

Director: Gerald Kargl
Starring:Erwin Leder, Edith Rosset, Josefine Lakatha, Sylvia Rabenreither.  Austria. 1h 15m

I am constantly looking for films about serial killers that aren’t total let downs and after years of searching it seems I missed the boat as one of the greatest and more accurately disturbing films was released when I was a toddler, but despite its age it really hasn’t lost any of it’s vivacity and manages to detail the gruesome slaughtering of one family by a repetitive mass murder Werner Kniesek. Continue reading Angst / Fear (1983)

Repulsion (1965)

Director: Roman Polanski
Starring: Catherine Deneuve, Ian Hendry, John Fraser and Yvonne Furneaux. UK. 1h 45m

In Polanski’s highly thrilling black and white drama that kick started his tenant trilogy (which consists of  two other classic films  The Tenant (1976)  starring Polanski himself,  and the Cult classic Rosemary’s Baby (1968) ,  and this dark thriller, a young beautician drops deep in a claustrophobic insanity possibly spurred on by a suppressed family trauma as her feline sexuality sparks great interest from many suitors.

Repulsion is strangely enjoyable, and is a deep internal  nightmare that transpires through any age, and is easily relatable to. Adapted by Gérard Brach it is fantastically brought to life by Polanski and on a meager budget of £65,000, this debut  English film the budding director lost his footing at first, but as the dialogue vanishes he turns up the atmospherics and the results are quite dark and bold.

A beautiful timid girl Carole (Deneuve) is left alone in an apartment shared by her sister and her sisters husband, they are off to Europe for their holiday, leaving her some outstanding rent money for an angry landlord they skip town. Instantly the first cracks start to show in the relationship with her boyfriend  and soon she starts making mistakes at work. Very slowly we see the layers of Carole’s psyche peel away leaving a vulnerable kitten and murderous vixen.

It’s quite easy to write off Carole in the early throes of the films, you hardly notice the little mouse in contrast of her sisters sultry boldness overwhelms her and she spends a lot of the time hiding behind her bleached blonde 60’s bouffant hair, but as her character changes, she starts to give up the goods and her performance is tremendous, her charisma teamed with the reclusive scenes of the apartment and shocking effects persuades the

viewer to miss the realities of what’s going on. Blending themes from Dementia 13 (1963) and Persona (1966).

The ingenuity of the effects are really beautiful not only do you literally see the cracks appearing in Carole life but her fears are coming out of the walls and dark shadows of her apartment. Polanski plays the art house card now and again, there are silent shots of rotten vegetables and dirty plates that co exist with the knife wielding madwoman episodes, but

these are short and frantic, but cause as many ripples as any Hitchcock Psycho scene and emphasis her meltdown and the effects it’s having on the real world.

It’s hauntingly stark at times but a real tour de force once it gains momentum, the horrific faces of the returning couple finding their apartment in disarray reflects the faces of any avid viewer. It’s very unusual for this style of horror/ thriller to have a knife welding psychotic serial killer but with several hints at previous sexual abuse and possible incest it’s no real shocker that this girl is this fucked up.. Her next step would be Haute Tension (2003)

Rating 8/10

R: Haute Tension (2003) , Dementia 13 (1963), Persona (1966), Rosemary’s Baby (1968), The Tenant (1976)

L: Black and White Thrillers, Femme Fatals
5s : Roman Polanski

Post Discussion.

 

Happy Hunting (2017)

Director: Louie Gibson and Joe Dietsch.
Starring. Martin Dingle Wall, Ken Lally, Kenny Wormald, Connor Williams, Gary Strum,CJ Baker. USA. 1h 31m.

Gibson and Dietsch have produced a gory little survival horror filled with little surprises and a strange story of redemption, reform and recovery. Continue reading Happy Hunting (2017)

Hausu / House (1977)

Director: Nobuhiko Obayashi.
Starring: Kimiko Ikegami, Kumiko Ohba, Kumiko Oba, Mitshtoshi Ishigami, Miki Jinbo, Reiko Sato. Japan. 1h 27m.

Every now and then I have the urge to watch something completely off the wall, and I’ve seen and heard so much about House over the years and deemed that most of it couldn’t be true..  but finally managed to find a copy at a semi reasonable price so I relaxed into it a few nights ago… then panicked a lot, but there is a lot going on in this cartoon style fairy story. Continue reading Hausu / House (1977)