This film provides an original and fresh contribution to Belgian cinema. Its noirish aesthetic is captured through its deep metallic blues. I am accustomed to Belgian cinema's general 'social realist' aesthetic, but this offers something completely different. The ambiguous narrative is nightmarish, drawing on one's inner fears of unknown noises behind the walls.
Target audience - people with knife, cutting and blood fetishes. Very repetitive visuals (knife cutting into skin) and sounds (once again - knife), to be frank I found it a bit dull to watch mainly for that reason and the story doesn't seem to develop much, I think it would work better a short film.
This is more about fetishism than Giallo and fetishism is so annoying the way it implies sophistication to those who indulge in it; a sort of 'ooh look at what we aren't afraid to admit to' kind of snobbery from people who are basically just a bit shy and boring with not much to offer in the way of conversation. Similarly this film...
Graphical presentation is stunning, so it the camerawork with striking macro shot, crazy plans and all. But the themes, the story, the characters, and the incessant gore, while managing to sustain an opressive ambiance all the way through, left me uninterested. And I am always annoyed at physical violence and gore underpinning a film.
The typical "giallo" vocabulary - sounds, camera movements und angles, colors, light, architectural details, music, visual metaphors - is used to create a enigmatic and somewhat experimental film full of innuendos. For my taste it's a little bit too stylized and aimless.
I remember seeing this on the competitor Netflix (sorry) a while ago. This has a pretentious whiff to it, butcan't deny that it's imaginative, even quite captivatig at times. Sadly, the well crafted shots only remain abstract until the end, when they're all bluntly pieced together in a rather unremarkable psychoanalytic issue (man's mind ruined by witnessing ~~women's issues) explaining it all. A bit of a shame!
A nightmarish, LSD-induced exercise of style clearly inspired by the Italian giallo, technically impeccable and gorgeous, although it offers little in terms of narrative (or anything else to keep us interested for too long) and is sexist to suggest that women corrupt men, driving them mad with desire and fatal obsession. http://www.filmotrope.com
3,5 Cattet and Forzani go on with the sensual exploration of the inconscious. Amer was about the female desire, TSCOYBT explores the male schizophrenic subjectivity. The film is indebted with Argento (the dream logic of Inferno), Lynch (Inland Empire) and Satoshi Kon. It is not true that the narrative here is not important: on the contrary, it is as important as the visual aspect of the film.
Sexist, pretentious ridiculousness that only the Francophone world could cook up. Not more or worse than the ridiculous of other cultures, just a particular flavoring that passes as haute cuisine. Give me a giallo any day of the week. This pap was arty without art and stylized without style. And the computerized color and color schemes: Ack! Amelie on speedballs.
"So you like mysterious phone calls?..." Some great symbolism and images, even if I have no idea what they mean. "Come closer. I am the one you are looking for." Laura Palmer is not the only Laura in town, and this one lives in your walls. "Your dark side is the most beautiful thing you possess and it will always belong to me. Sorry for your loss." Actual 1970's soundtrack to 2013 film. My first giallo?