Critics reviews

The film immediately distinguishes itself relative to the giallo canon in that nearly all of the characters come from the LGBTQ population, and in its inversion of the genre’s gender roles, the most common scenario being women as the victims of a killer or otherwise being watched, surveilled, or photographed by men.

Drawing from a mix of vintage ’70s French porn and arthouse and exploitation auteurs, Gonzalez has crafted a singular treatise on submission, queerness and desire in film and love.

This movie packs in plenty of cinema acrobatics and spectacle without ever feeling out of control, even as it morphs into a far-fetched whodunit.

Formally, the film is to die for, but it goes to sleep narratively not long after its opening.