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.

kosmasp In this case it is style over substance. There is something hidden and you may be able to decrypt it. But if you don't you'll either still love it or you will be annoyed by the fact that it's nothing like anything else you've watched the last couple of years. The movie always challenges you and even when you think you figured it out, there is something coming up muddling the water.It's a tough sell for some, but an easy if you want to watch something that is not explainable. Even if I wanted to tell you the story, I wouldn't be able to. It's about a man and a woman. Or is it? It's about one apartment ... but is it? It's about a detective ... or is he? If Dario Argento actually would have evolved and he had some artistic flair, he might have been the one doing these movies. As it is, we get this couple, who might not want to explain what they were thinking when they made the movie, but we know they had a master plan ... is it enough for you to enjoy though?

darkness_visible Yet another exercise in all-style-no-substance film-studies-friendly/paying-audience-hostile giallo "homage" from Forzani and Cattet. Oh for Pete's sake - come on guys! Amer was one thing, quite interesting at the time, but the value of that film has somehow been retroactively diminished by the release of its identikit successor. Replicating the surface details of the giallo style is easy peasy - anyone can do it - it's the Spaghetti Bolognese of filmmaking. But the point of the original gialli classics was that they were proper functioning movies that would have worked as exciting thrillers even without the stylistic flash. Neither Amer, nor TSCOYBT, have proper plots, and for me, failure to provide an adequate narrative element is an abdication of the filmmaker's primary responsibility. I hope, for Forzani and Cattet's sake, that they are not currently working on another EU-cash-lake-for-art-house-piffle funded giallo homage, because they will be risking losing their credibility forever after, which would be a shame, because I get the impression that they are extremely talented and visionary filmmakers.

Kyle Gnarly I find myself a bit baffled that so many reviewers chalk this up to artistic nonsense. The best way to approach this film remains simple: this is a throwback to the trippy days of giallo film, with a very, very attentive approach to more than just blood, guts, and gore on the screen. Sure, the audience will easily be able to identify the simplest features from the genre in and of itself--the obsession with eyes, the black leather gloves, the obscene colors for effect--but this gem really includes so much more. This film makes you think. It challenges your preconceived notions of traditional, and let's call it what it is, boring storytelling; in fact, the story itself refuses to follow a linear path, which may cause those that refuse to step outside of their comfort zone a bit of anxiety--then again, that's wonderful, because it's nearly impossible to not feel anxious during this presentation. This film refuses to tiptoe on the wild side like so many others do/did/will continue to do with the thriller genre, and you really must go into this experience knowing you'll be back for more.I remember seeing the directors' entry into the ABCs of Death and found myself infatuated with the cinematography. This film only furthers my appreciation for their contribution to our craft. Pair this with the attention to sound, musically and via effects, and, well, you have The Strange Color of Your Body's Tears.Many of the scenes throughout the film require a second viewing; in fact, I found myself personally stopping the film on multiple occasions to watch given scenes over and over again. The use of color throughout, paired with the fantastic angles and lighting, really does bring on back to the days when Argento reigned supreme. That being said, and the reason this cannot be a full-on 10/10, simply boils down to the directors doing a bit too much in such a short span of time, but I just so happen to enjoy the obscene imagery. I've already recommended this film to practically everyone that I know, and I genuinely suggest you give this one a shot. Any film that I feel Kubrick would even wonder what's going on is solid in my book. Grab a glass of wine, maybe two, after you've seen the opening 10 minutes, and just enjoy yourself. This is what true film is all about. Some will chalk this up to the artsy nonsense that they personally do not enjoy, but I can and continually will stand by this film for breaking from the traditional mold and reinventing the thriller genre in my eyes. The colors, folks... The colors...