FEATURING: Klaus Tange, Birgit Yew, Anna D’Annunzio, Hans de Munter
PLOT: Dan Kristensen comes home from a business trip to find that his wife is missing. His investigation into her disappearance leads him down an intricate rabbit hole of murder, sex, scopophilia, demonic possession, and, especially, confusion, as he moves within the impossible spaces of his mysterious apartment building.
WHY IT MIGHT MAKE THE LIST: With its influx of surreal imagery, bizarre plot twists, aggressive soundscapes, and grunge-decadence sets, the weirdness of The Strange Color of Your Body’s Tears is not in question. Its place on the List is hard to solidify, however, as its weirdness doesn’t quite compensate for the dragged-out pace, irrelevant script, and unnecessary repetition.
COMMENTS: Hurling images of kinky sex, paranormal apparitions, and violent attacks before the viewer’s eyes, all edited in quick-cut fashion: The Strange Color of Your Body’s Tears is quite the experience. Its filmmakers seek to unsettle and disorient, and at that they are certainly successful. Just as the regular-Joe protagonist is thrust into this impossible situation, the audience is taken on a strange and terrible journey that makes very little sense, and frustrates more than it entertains. As a whole the film is very scattered, peppered with moments of brilliance between overwrought segments of confusion. Cattet and Forzani seem to have opened up a big book of experimental film techniques and just took a stab at every trick they happened upon. Some sequences are marvelous, including a dream wherein Dan becomes stuck in a time loop, meeting and killing multiple versions of himself over and over. Another shows an older woman losing her husband to a sinister force in the room above the bedroom, as she is left with nothing to do but listen to the strange noises coming through the ceiling. Still another is filmed in a sort of fuzzy black and white time-lapse, as a woman is chased by an unknown demonic figure. Other sequences feel completely pointless, as various asides and barely connected subplots and characters appear and disappear on a whim.
This film never allows its audience to find their footing, but it also never really rewards the more loyal viewer for sticking around til the end. It was at first engrossing for its emphatic—almost combative—illegibility, bullying its way through numerous red herring plot twists and presenting an extreme giallo-throwback aesthetic. The sets are beyond beautiful, with most of the action taking place within Dan’s apartment building, surrounded by Art Nouveau filigree and deep, heady color combinations. The sheer number of bizarre happenings and nontraditional cinematic techniques employed is honestly impressive, but the constant flood of ideas eventually becomes tiresome, especially as the story (a term I use loosely here) proves more and more cyclical. There’s little momentum, and little payoff for a film that stretches very thinly over its 102 minutes. It’s clear the film would have worked better as a short, where Cattet and Forzani could have packed in all of their artsy grindhouse weirdness without wearing out their welcome. But for diehard giallo fans, it’d definitely be worth it.
FEATURING: Too many actors to list individually, and no one appears onscreen for long enough to qualify as “featured”
PLOT: 26 short horror films about death, each inspired by an assigned letter of the alphabet.
WHY IT WON’T MAKE THE LIST: As you might expect from an anthology with a hefty twenty-six entries in a multitude of styles, it’s too uneven and not consistently weird enough for consideration for the List. That said, there are three very, very strange shorts here, and several others that nudge the weirdometer at least a little bit, which makes this worth a look-see.
COMMENTS: Rendered in a wild variety of morbid styles ranging from the avant-garde to the zany, these twenty six short films about death derive from a new breed of up and coming punk directors working in the diffuse genre that now loosely goes by the name “horror.” All the usual disclaimers about anthology films apply to The ABCs of Death, but this compilation faces an additional alphabetical hurdle: if A, B and C are all duds (and I say they are), the movie gets off to a slow start, and there’s nothing the editors can do about it. The order is locked in place and randomized, and the curators can’t impose any sort of flow on the show. The fact that each entry has to be unusually short (after the 11 minutes of end credits are subtracted from the run time we come out to four-and-a-half minutes per mini-movie) is more of a virtue than a drawback, since we aren’t asked to invest much time in the inevitable losers and failed experiments. The necessity for each director to hit hard and fast, with no time to build up true horror, led me to expect shock, gore, and cruel comedy to dominate over true terror. ABCs delivers on that score, but there was also a trend that make me wonder where horror’s head is at. Three out of the twenty-six entries—that’s 11.5%—prominently feature a toilet, and that’s not even counting the one that’s flatulence based. Has horror finally dug to the bottom of the bucket of viscera, and now there’s nowhere else to turn but the toilet to elicit cheap disgust? A more promising development, and one that’s much more to the point of this website, is that the exact same number of shorts (3, or 11%) were unabashedly weird-–suggesting that cutting-edge horror continues to be the last refuge for surrealism in pop culture. Before describing the three bizarre gems, we’ll mention a couple of odd, and not so odd, runners-up. “P is for Pressure,” set in a third-world country and involving a prostitute’s quest to buy an expensive present for her daughter’s birthday, is the omnibus’ only dramatic entry; although it has a morally sickening climax, it is authentically and unexpectedly touching. Though not written by Srdjan Spasojevic (who turns in an extreme but unmemorable riff on “R”), the violent and transgressive porn fantasia “L is for Libido” has a disturbing Serbian Film vibe (with a hallucinatory kick) that soils the mind. On the opposite end of the sexual spectrum, Catette and Forzani’s “O is for Orgasm” is a surprisingly beautiful and experimental explosion of color-filter eroticism that traffics in the concept of sexual release as “la petite mort.” In a normal compilation, “H is for Hydroelectric,” a Chuck-Jones-does-furry-porn style adventure in which an anthropomorphic Nazi stripper fox lures a British bulldog pilot to his doom, would be the WTF-iest entry. Here, however, it’s only an honorable mention, as that title is literally taken by “W is for WTF?” This is a study in surrealistic economy: initially appearing to be a self-aware parody, it quickly establishes a comic book mesh of Satanic gore porn, killer walruses, zombie clowns, and decapitated animators, then spins the images in a psychedelic blender for two gloriously insane minutes. “W” features miniskirted nurses and princess warriors in chain mail bikinis, but for gleefully adolescent gross-out sleaze, nothing beats Noboru Iguchi’s already notorious “F is for Fart.” It’s the tender tale of a lesbian schoolgirl that defiantly expresses a humanistic preference for the gas of an earthly lover over the vengeful flatus of God. “Fart”‘s motto is “let’s pass beyond the boundaries of good taste and become one together,” and does it ever achieve the first part, at least—this is a bad-taste stunner for an unstunable age. Still, top honors in the “weird” category go to Iguchi’s frequent collaborator Yoshihiro Nishimura, who continues to set himself apart as the splatterpunk brigade’s most inventive and audacious talent with ABCs’ capper, “Z is for Zetsumetsu” (“extinction”). A blond Nazi hermaphrodite fights a nude kung fu woman while a Japanese Dr. Strangelove comments on the action; it’s somehow inspired by the 2011 Tōhoku earthquakes, and there are satirical references to American imperialism, the nuclear power industry, and Japan’s own sense of racial superiority. A topless rendition of the 9-11 bombings may have Americans shaking their heads, but it’s hard to be too offended by something that resembles an insane sushi chef’s wet dream (multiple characters ejaculate rice). Whatever associations this stew of mad images raises in the Japanese consciousness, its bizarro bona fides are unquestionable.
Of course, we would have highlighted an entirely different set of segments if this piece had been written for a gorehound journal or a monster blog. One of the issues with what marches under the banner of “horror” these days is that it’s a loose confederation of disreputable interests that encompasses torture porn, black comedy, sick eroticism and experimental imagery alongside traditional stories of vampires, hauntings and madman. With two films prominently featuring pedophilia, and the aforementioned scatology and surrealism joining the expected blood and guts, ABCs‘ selections suggests that the modern horror genre is becoming a final resting place for the generally transgressive rather than for the terrifying per se.
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This review was originally published at The Cinematheque in a slightly different form.
Brought to opulent (some might say pretentious) life by Belgian directors Hélène Cattet and Bruno Forzani, Amer is an homage to the Italian giallo horror films of the 1960s and ’70s, and more specifically the works of the genre’s most notable denizen, Dario Argento. Amer (French for bitter) is an all-but-wordless, trisected mindbender of a movie, running portentously through one girl’s life, from her twisted childhood, to the seductively innocent carnality of young womanhood, to her inevitably tragic (and inevitably violent) demise. In short, it is a lyrical horror movie that manages to arouse and nauseate at the same time and in equal measure. In shorter yet, it is both succulent and repellent. In even shorter, it is simply Amer.
Told as almost Gothic horror, set in a sufficiently terrifying seaside villa, Amer starts out with an eight or nine year old Ana, running from room to room, trying her best to outsmart both her overbearing mother and the ugly crone of a witch that was her grandfather’s caretaker, while attempting to steal a necklace she must pry out of her ancient grandfather’s cold dead hands. The film takes on a magical feel right away, as an insidious doom overshadows all that is happening around her and her young eyes are assaulted by the evil that lurks around her and (in a scene of frenetic, salacious eroticism) the writhing, sweating bodies of her parents bedroom. The terror, both metaphorical and physical, that will eventually devour Ana, is already beginning to surround this wide-eyed little girl.
We next turn to the adolescent Ana, her Lolita-esque body glistening in the midday sun, her bee-stung lips curling in a seraphic yet alluring manner, the slight breeze blowing her light dress provocatively, all the while slowly waltzing in front of a row of very-interested bikers, flaunting, advertising her newfound sexual desires. The erotic longings that first popped up in Ana’s wicked childhood surface here in a much more dangerous way. Next we see a grown Ana, her fantasy world now completely engulfing her, returning to her now dilapidated seaside home, every shadow, every noise, every creak, every sensual yearning, an ominous foreshadowing of the horror to come.
With the mysterious black-gloved hand that keep Ana from screaming, the muscled, libidinous arms that grope her and strangle her, and the shining, silvery blade that coldly slices against her face and mouth, warning her of what is to become of her, Amer ends with the same seductively perilous urgency with which it began. Perhaps made as the ego-trip many claim it to have been, Cattet and Forzani nonetheless have captured the essense of those giallo films, and especially the warped, libidinous proclivities of Mr. Argento, to a visual and aural “t.” Just like the Italian horrormeister’s movies, Amer is an erotically charged mindbender of a movie indeed.
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