Review by Matthew Turner
Stars: Elina Lowensohn, Stephane Ferrara, Bernie Bonvoisin, Herve Sogne, Michelangelo Marchese, Marc Barbe, Pierre Nisse, Marine Sainsily, Dorilya Calmel, Aline Stevens, Dominique Troyes, Bamba | Written and Directed by Helene Cattet, Bruno Forzani
Belgian co-directors Helene Cattet and Bruno Forzani garnered an instant cult following with Amer (2009) and The Strange Colour of Your Body’s Tears (2013), both of which paid luxurious homage to 1970s giallo movies. Their latest film, Let the Corpses Tan (or Laissez Bronzer les Cadavres, original language fans) sees the pair applying their expert pastiche skills to violent European crime thrillers of the same decade, to deliriously enjoyable effect.
Loosely adapted from a 1971 French novel by Jean-Patrick Machete and Jean-Pierre Bastid, the plot is deceptively simple and a good deal more coherent than either of Cattet and Forzani’s previous films. Former Hal Hartley muse Elina Lowensohn plays Luce, a middle-aged artist who lives in a run-down,...
Stars: Elina Lowensohn, Stephane Ferrara, Bernie Bonvoisin, Herve Sogne, Michelangelo Marchese, Marc Barbe, Pierre Nisse, Marine Sainsily, Dorilya Calmel, Aline Stevens, Dominique Troyes, Bamba | Written and Directed by Helene Cattet, Bruno Forzani
Belgian co-directors Helene Cattet and Bruno Forzani garnered an instant cult following with Amer (2009) and The Strange Colour of Your Body’s Tears (2013), both of which paid luxurious homage to 1970s giallo movies. Their latest film, Let the Corpses Tan (or Laissez Bronzer les Cadavres, original language fans) sees the pair applying their expert pastiche skills to violent European crime thrillers of the same decade, to deliriously enjoyable effect.
Loosely adapted from a 1971 French novel by Jean-Patrick Machete and Jean-Pierre Bastid, the plot is deceptively simple and a good deal more coherent than either of Cattet and Forzani’s previous films. Former Hal Hartley muse Elina Lowensohn plays Luce, a middle-aged artist who lives in a run-down,...
- 10/18/2017
- by Guest
- Nerdly
In the argument of “style over substance,” movies like Hélène Cattet and Bruno Forzani’s Let The Corpses Tan make a case for limitless artistic boundaries. In every sense, this is a Giallo-fied Spaghetti Western stand-off that feeds off ambition. Like a six-shooter filled with posh glitter, liquified gold, graphic gore and creative architecture unlike anything mainstream cinema will back. There’s a narrative, but it’s flimsy and underdeveloped with full intent – all focus is on the exploration of cinematic techniques. Cattet and Forzani never care if you even know a character’s name, as they’re only interested in how their craniums will splatter when popped by a steel-manufactured projectile.
Yet, nonetheless, there is indeed a story at play – criminals who hide out with a vacationing family, and the two cops who spark a can-go-wrong, will-go-wrong exchange. Rhino (Stephane Ferrara) fights for his gang’s stolen gold, Luce (Elina Löwensohn) stirs the pot,...
Yet, nonetheless, there is indeed a story at play – criminals who hide out with a vacationing family, and the two cops who spark a can-go-wrong, will-go-wrong exchange. Rhino (Stephane Ferrara) fights for his gang’s stolen gold, Luce (Elina Löwensohn) stirs the pot,...
- 9/27/2017
- by Matt Donato
- We Got This Covered
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