Have you ever thought that that might be just what the director was after?
Works better than Amer as a film, and as a homage, in this case is more to the sound recording process than the giallos themselves. But like Amer, it feels like a good idea that never goes anywhere, and drowns itself with the style. Seems only Beyond the Black Rainbow truly got it right regarding the fusion of atmosphere and tribute to a certain type of movies.
Like Amer before it, Strickland places a focus on style, but ostensibly makes it more commensurate with the substance, in what can notionally be described as the heir to Deep Red and Blow-up (or rather, Blow Out), with even a Rollins-esque film-within-a-film as part of the throwback. Its heavy emphasis on delivery, however, equally obfuscates its meta-content to be able to fully immerse into the kind of sensory viscera it relies upon at the same time. While it remains crisp, it ultimately doesn't succeed in succeeding its influences.
"When giallo works for me, it’s when it becomes more ethereal and atmospheric. When I watch those films, I don’t go into it for the narrative or for the sadism, just to experience that atmosphere. It’s the same with a Jordan Belson film or a Stan Brakhage film. Berberian was constructed to be the same way." Strickland on his approach/execution. Well done sir.
A solid 3-star film and well worth a watch. Toby Jones is fantastic as usual and the story is very slow, but it works really good with the mood and tone that is set from the begining with great help from a wonderful sound design. The premise is very good and, though I was expecting a horror movie with a least a bucket of blood, I cannot say I was disapointed.
I love the concept, Toby Jones's performance is excellent, and the soundtrack...damn, it gives me ache every time I hear Trish Keenan's voice :|.
The film being scored isn't a giallo btw, but this is an ode to gialli in more ways than one. As with Amer, BSS loves the genre but does not replicate, and neither would fair anything more than average when compared in quality to the 70s output (but then again, it would be apples and oranges). It's very showy though, and for some of what it's saying there should have been further backup. The assumption is not sweet.
The premise is amazing. The set-ups are all amazing. The sound design (as everyone has already stated) is amazing. Near the 90-minute mark, you're waiting for everything to collapse into place and for several payoffs to be made that are going to blow your mind. Then the screen goes black, and you / the audience look around and wonder if the projector broke. Then the sensation of disappointment begins to sinks in.
this was incredible. the direction was amazing. i've never seen a film with such high quality editing and sound mixing. i was expecting a lot but not that much but i'm so glad i got more than i bargained for. the use of flashbacks, colors, lights and silence made this movie good but compiling all of those things together made it great.
I was drawn by the positive reviews of this film and justified my choice to watch it having seen Peter Strickland’s debut feature , Katalin Varga, which was defined by its vivid direction and use of a powerful score as contributing character to the film. Regrettably this was a lot less lucid and much more convoluted, confusing and even disturbing at times. The soundtrack though is on a league of its own.
I saw this without subtitles and whether or not it was supposed to be viewed that way, the film effectively uses sound in a way unlike any other film this year.
Hauntologyh on screen. Sinister resonance. Traces of Theodore Roszak's Flicker. Discarded vegetables and rotten cabbage. A reference to Cindy Sherman's "sick" photographs? Now, if this were an American production, The Equestrian Vortex would indeed become a reality. And that would be the true horror. Luckily, this will remain "a Santini film".
Brilliant Shining-like idea, and strong central performance by Toby Jones, let down by underwhelming digital cinematography, gimmicky editing, and some woeful acting by the entirety of the supporting cast. What could have been deliciously nightmarish is instead a cold pretentious plod, with one or two flashes of brilliance towards the end (one completely silent sequence being a super-chilling standout).
Of course I realise the film the Jones character is working on is supposed to be Giallo trash, and that this is the whole point (which I acknowledged was, thematically, potentially brilliant). However, this doesn't excuse the rather vapid storyline as a whole. Repititous Requiem for a Dream edits and a feeling of suspense do not, on their own, make for a good/thought-provoking film. Rather a substanceless dirge.