iMDB:
This rare giallo visibly has a bad reputation all over the planet, and I can’t really understand why; probably because no one has seen it…
Here we have a rich playboy doing boat races, and at one of them he has an accident – his boat shatters and explodes, but he’s thrown in the nearby water and rapidly picked up by the medical crew, and after an operation to the brain returns home safe and sound, with some memory loss and a prescription of calm, peace & love for recovery. However, his surroundings – including luscious Rossana Yanni, constantly mini-skirted and looking ready to seduce – stick to his incredibly designed villa, and the killings begin.Read More »
Pierfrancesco Campanella’s first giallo (also his directorial debut). The plot is about a series of murders among homosexuals, but the erotic element is mostly represented in heterosexual couplings, so no worries there. Starring the always excellent Tomas Arana, with Alida Vali, Gioia Scola, Lorenzo Flaherty, Natasha Hovey and Barbara Scoppa.Read More »
Plot :
Director Luigi Scattini had previously worked with the beautiful model-turned-actress Zeudi Araya in “The Sinner” (1972) and in a previous film that I have not had the pleasure of viewing. Even though she was constantly typecast as the beautiful barefoot island girl, it was always obvious that Araya was having a good time. Casting “Il Corpo” with such tried-and true talents as Leonard Mann, Enrico Maria Salerno, Carroll Baker and Ms. Araya, it is equally obvious that Scattini had a good time, and the result is a dramatic, slightly erotic thriller that begs to be seen. Read More »
Cosmotropia de Xam is back with more “arthouse horror” with his latest feature, MALACREANZA: FROM THE DIARY OF A BROKEN DOLL.
JASON COFFMAN wrote:
This film, his follow-up to DIABOLIQUE, is touted as both “arthouse horror” and “experimental giallo,” and while it is similar in tone to DIABOLIQUE, it is even further removed from standard narrative than that film. MALACREANZA only features one actor on screen during its entire running time, and features imagery more traditionally associated with experimental film than narrative features.
Anna (Shivabel) wakes up, nude, near what appears to be an abandoned factory. She wanders around and hears voices that seem to control her. These voices are the only other presences in the film—other than Anna, no actors appear on-screen. The voices taunt and command, as Anna wanders from one bizarre nightmare world to the next, similarly to how the characters in DIABOLIQUE would float from one place to another, but even more abstract in both its narrative structure and visual style.Read More »
SYNOPSIS
Silvia Hacherman (Mimsy Farmer) is an industrial scientist who is completely devoted to her job. She has been going out with the handsome Roberto (Maurizio Bonuglia) for a little over four months, but he is understandably perturbed by the fact that she seems to value her work more than him. One night, while attending, with Roberto, a party at the home of a renowned African professor (Jho Jenkins), his discussion of voodoo rituals and human sacrifices seems to unroot a memory deeply buried within her psyche. She begins to hallucinate, seeing disturbingly vivid images of her mother, who died under uncertain circumstances. As the hallicunations become more frequent and more lifelike, Silvia begins to lose her grip on reality as her sanity slips away… Throw into the mix phantom girls, grisly murders, mysterious gift shops and a possible conspirary involving her boyfriend, and you have the makings of an incredibly baffling psycho-shocker that, while following some of the giallo genre’s conventions, is too anarchic a piece to fit comfortably into that particular category.
Michael Mackenzie on The Digital FixRead More »
Following the brutal death of a prostitute at an exclusive Parisian brothel, grizzled Inspector Fontaine is brought in to investigate. After implicating Antoine, a petty thief and regular client of the murdered woman, Fontaine believes the case to be closed. However, Antoine makes a daring attempt to escape custody, only to get decapitated in the process, after which his eyes are given over to strange Professor Waldemar for study. But soon enough those affiliated with implicating him begin to meet their own violent ends. Has Antoine’s vengeful spirit returned to kill those he believes responsible for his own gruesome fate? Or has another, more sinister character been behind these diabolical murders from the very beginning?Read More »
Quote:
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.Read More »
Synopsis:
There are three key ingredients that make an excellent giallo production. First, you need a drop-dead-gorgeous starlet that will readily take at least two showers in front of the camera, naked of course, and during the course of the film will not shy away from further revealing her “acting skills”. Second, you need a good amount of red paint, preferably not the Ferrari-red type. And third, you need a relatively good mystery story complimented with a few catchy tunes to bring that extra bit of chill. Now imagine that you throw in the mix one of the sexiest European stars to ever grace the exploitation genre canvas-Edwige Fenech, a legendary Italian director-Sergio Martino, and a script based on a short story by celebrated writer Edgar Alan Poe…and there you have it…Il Tuo vizio e una stanza chiusa e solo ion e ho la chiave a.k.a Your Vice is a Locked Room and Only I have the Key (1972), a spectacular giallo production that mixes all the right ingredients with just about the right amount of style we pointed out above. Read More »
It’s been argued that this frightening and erotic piece of experimental montage from Belgian directors Hélène Cattet and Bruno Forzani is all form and no feeling. It’s easy to see why, since its most easy pleasures derive from a cool juxtaposition and stylisation of sound and imagery. But there’s more to it: the film also functions as a knowing, lightly feminist homage to Hitchcock and the chief exponents of the Giallo genre, Dario Argento and Mario Bava. As such, its ‘meanings’ may not be instantly traceable through a cosy linear storyline or densely wrought characterisations.
In immaculate detail and with barely any dialogue, the film depicts three symbolic events in the life of Ana: the first involves a family death and some mid-coitus voyeurism; another shows her first experience of male attraction; and the final, most impressive chapter (a wholesale updating of a key segment from Argento’s ‘Deep Red’) sees our heroine (played by Marie Bos, pictured above) sneaking around an eerie, European mansion, maybe stalked by a razor-wielding maniac.
Cattet and Forzani sculpt with pure mood. They deliver a vivid sense of Ana’s heightened sensitivity towards her surroundings via an array of bravura camera tricks and fine edits. The best way to describe it would be to imagine the shower scene in ‘Psycho’ played over feature length. A large part is shot in extreme close-up, mostly of Ana’s eyes or the silhouette of her crotch underneath a billowy cotton summer dress.
This technique imbues the film with a rich sense of texture, such as in an early scene where Ana runs her fingers over the cracking, mottled skin of (what appears to be) the corpse of an old man, or later when she’s riding in a taxi and the heat makes the leather trim too hot to touch. Some may find the film a mite academic in its glassy deconstruction of genre convention, and it’s perhaps asking a bit much to read it as anything more than a claustrophobic portrait of sexual danger, but it still fulfils that highly specific brief with blood-splashed gusto.
Amer.2009.1080p.BluRay.x264-HANDJOB.mkv
General Container: Matroska Runtime: 1 h 30 min Size: 7.92 GiB Video Codec: x264 Resolution: 1916x816 Aspect ratio: 2.35:1 Frame rate: 23.976 fps Bit rate: 11.9 Mb/s BPP: 0.317 Audio #1: French 5.1ch AC-3 @ 640 kb/s
