Hélène Cattet i Bruno Forzani su snimili AMER, film koji će biti prikazan na festivalu SXSW 2010. AMERa opisuju kao art-film sa snažnom giallo aromom.
Three key moments, all of them sensual, define Ana's life. Her carnal search sways between reality and colored fantasies becoming more and more oppressive. A black laced hand prevents her from screaming. The wind lifts her dress and caresses her thighs. A razor blade brushes her skin, where will this chaotic and carnivorous journey leave her?
Sajt::: http://www.amer-film.com/ (http://www.amer-film.com/)
Čuveni giallo teoretičar Alan Jones je napisao o Ameru:::
Directed by Hélène Cattet & Bruno Forzani . Starring Bianca Maria D'Amato, Cassandra Forêt and Charlotte Eugène Guibeaud. Horror. Fr, 90 minutes.
My vice is a locked giallo vault and only co-directors Helene Cattet and Bruno Forzani have the key! Death has a new taste and it's bitter, or AMER, as the title of my Movie of the Moment describes it. Unlike most films today that are instantly forgotten once past the closing credits, AMER still flits through my mind like a butterfly with bloodstained wings.
I absolutely adore this flawless tribute to the ethereal mystique and Pop Art madness of the 70s gialli with their definitive style, recurring themes and visual motifs. No question in my mind that Cattet and Forzani's perfect riffing on the vintage Italian thriller back catalogue is one of the boldest and original visionary statements of recent times. Not only does the incredibly talented Belgian couple master the hypnotic allure of the classic gialli by creating a virtually dialogue-free narrative through-line, they tie it to the essential appeal this most delicate of genres has for devotees. Although it's clear from some negative festival reviews it'll be as difficult as ever to explain to the uninitiated who just don't get the dual attraction and repulsion of sexual and violent imagery feeding the viewer's desire to discover the truth behind the warped psychology of a myriad of black leather gloved assassins. Cattet and Forzani's perversion story revolves around Ana (played by Cassandra Foret, Charlotte Eugene-Guibbaud and Marie Bos) and is told in three distinct parts, childhood, adolescence and adulthood. But the plot is a peripheral entity because this is a film solely about sensation, emotion and experience. Suffice it to say AMER deals with Freud's 'Primal Scene' theory that supplied the gialli with repeated murderous deeds throughout its short five-year lifespan. That's the supposition any child witnessing parental sexual intercourse (here beautifully rendered in SUSPIRIA primal colours) can misinterpret the event as a terrifying incident causing trauma later in life. So that translates as the various stages in a woman's discovery of her sexuality through a series of shocking incidents; the shocks received as a child because no one tells you anything, the shock of sexual awakening in teenage years, and the shocks of sexual disappointment in maturity, which in this case leads to a brutal switchblade-on-teeth razor murder. While the first stanza orbits around a single night of creepy ritual when Ana's grandfather dies, and the last deals with sublime fetishism, the middle section outlining a lyrically sexualized walk to the town hairdresser is my absolute favourite because it unfolds in natural light as all the best gialli do. Charlotte Eugene-Guibbaud couldn't be more tantalizing as the hair-chewing Lolita either with her mini-dress hem flapping against her knickers at crotch-level. Maria Bos is pure Florinda Bolkan in the eyes-reflected-in-knife-blade finale, the portion where debts to A LIZARD IN A WOMAN'S SKIN are felt the most. Shimmering with a lush vibrancy and utilizing recycled Ennio Morricone, Bruno Nicolai, Stelvio Cipriani and Adriano Celentano music within its superb sound design,
AMER carries an erotic and exotic charge I never thought could be replicated again outside such essential gialli as STRIP NUDE FOR YOUR KILLER or the classic Dario Argento Animal Trilogy. AMER is a faultless masterpiece, so just relax and breathe in the heady perfume of Cattet and Forzani's dazzling lady in black.
ALAN JONES
Nadam se da će zaista isporučiti. Bilo bi to zaista sjajno.
nije se džaba taj film našao visoko na listi ghoulovih expektacija za 2010:
http://ljudska_splacina.com/2010/01/horor-filmovi-u-2010-ocekivanja.html (http://ljudska_splacina.com/2010/01/horor-filmovi-u-2010-ocekivanja.html)
Pogledao sam tu tvoju listu. Vidim da je Srpski film u sveukupnoj konkurenciji ubedljivo na prvom mestu. A ova procena nije data na slepo. Pogledao si radnu verziju, tako da već sad možeš (makar odokativno) da proceniš domete. Raduje me što smatraš da su ti dometi toliko visoki. Znači, u 2010. godini nas očekuje prvo srpsko horor remek delo novog milenijuma.
xcheers
SF sam jedinog sa liste VIDEO, makar u nepotpunoj, nedovršenoj varijanti.
to ne znači da neki drugi od pomenutih ili nepomenutih ne može da iznenadi prijatnije nego što moja oprezno-skeptična očekivanja za sada prognoziraju.
uostalom, 'oko 4' može da bude i 4-, ali i 4+
videću već koji je krajnji impakt svega toga sa sređenim tonom i ubačenom svom muzikom (koju sam čuo izvan filma, i koja je, ponoviću, spektakularno izuzetno vanredno antologijski odlična).
Ja se plašim da će Vukodlak, Zatvoreno ostrvo, Splice i novi Krejven da razočaraju. Nije da to priželjkujem, ali skeptičniji sam od tebe.
Quote from: Kunac on 08-02-2010, 20:58:09
Ja se plašim da će Vukodlak, Zatvoreno ostrvo, Splice i novi Krejven da razočaraju.
Vukodlak i
Zatvoreno ostrvo su razočarali, idemo dalje...
:)
Amer rivju (Bloody Disgusting)
By: Michael Panduro
It's been a month now since I caught Hélène Cattet and Bruno Forzani's Amer at the EFM in Berlin and a lot of that time has been consumed by deciding whether I like the movie a little or a lot. It basically boils down to deciding if the fact that the movie purposely annoys the fuck out of you is a cool thing or not. I don't mean annoy in the sense that it's bad, mind you, no Amer is a piece of great innovation and awesome craftmanship. But the film continuously builds up expectations in it's viewer only to stray completely of path and deny the audience of any release. And goddammit does it work! Amer is a film that's rumbled around in the back of my head for a longer time than Von Triers Antichrist and Fabrice Du Welz's Vinyan. I've decided that not only do I like Amer a lot, I truly consider it a technical and narrative gem.
The fact that Amer is more of a filmtechnical excersize than a traditional thriller is obvious from frame one. After serving up a deliciously corny 60's inspired intro, Cattet and Forzani almost top Argentos Suspiria in a sustained suspense sequence very much inspired by that very movie. And then they leave you hanging. After serving up a prolonged sense of absolute suspense the likes of which we only see en French and Spanish horrorfilms these days, the directing duo abandon traditional horrific tension almost for the remainder of the film. I was baffled, annoyed, enraged even. But just like interrupted sex, the seance leaves you on edge and highly receptive to the hour of sensual and sensitive filmmaking that ensues.
Devoid of horrific imagery and content, the second act slows down, at times almost to a standstill, and dwells on sexual tension instead. The plotless film moves from one tableau to the next, following a quiet little girl who grows into a quiet young woman, and showing us how fear of the old woman in the basement is somehow related to the silent sexual tension in a cabride or having to pass a bunch of leatherclad bikers. There's a Freudian undertow here that not only keeps the movie together but also connects it to the Giallo-brethren that Cattet and Forzani continuously pay homage. This is far from a Giallo in any traditional sense, though, and most would say that only the opening and the final reel, which finds the woman fearing for her life at the hands of a razor-wielding, shadowy figure, truly belong in the yellow company.
Amer is a little film that I've come to appreciate more and more, the more I've thought about it and right now I hope I get the chance to see it again soon. More than anything it's the fact that the Belgians actually pull this movie of, that's impressive. In a single film they demonstrate complete control of thrilling suspense in one scene, deliver colourful, psychedelic imagery in the next and then manage to make wind convincingly sensual in two of the most sexually tense sequences I can recall having ever seen. There are some small hickups from time to time, with the stylistic psychedelia sometimes leaving the narrative hanging, but through most of the film the photographic excess is wellmeasured, underscoring the emotional tension and rendering the movie certifiably engrossing.
For once I'd say it might actually be a good thing to know a little about the film before watching, because that way you won't spend the entire second act waiting for the film to go into horror-mode again. You might just be open to the sensibilities of a movie thoroughly charged with emotion, that I've only come to truly appreciate in retrospect. In many ways it's more arthouse than an actual horrorfilm, but whatever Amer goes for in a standalone sequence, more often than not it hits with impressive accuracy.
Score: 8 / 10
Lepa vest za nestrpljive... Izgleda da je AMER stigao na piratsku internet ponudu.
Убијеђен сам да ће се и MKV појавити иза Нове године :twisted: .
Amer Blu-ray (http://www.bluray-disc.de/blu-ray-filme/amer-blu-ray-disc#preisvergleich)
Nažalost, još nema titlova.
Na sreću, kanda u filmu ne pričaju puno.
xcheers
Koji je naziv ripa?
Pogledao sam AMER koji su snimili Helen Cattet i Bruno Forzani. Rekao bih da je smeštanje ovog filma na žanrovske festivale bilo u izvesnom smislu razumno ako imamo u vidu stileme kojima se služi ali da je bilo pogrešno na nivou ugođaja koji je pružen publici. Naime, ovaj film svakako preuzima neke o elemenata koji su činili giallo i Euroexploitation šezdestih i sedamdesetih ali naprosto njegovo ishodište u komunikaciji sa publikom nije tog profila.
AMER je art-house film koji se dosta kocka jer se oslanja na estetiku koju art-house publika ne ceni previše, a s druge strane, sasvim je sigurno da će među fanovima žanrovskog filma biti percipiran kao totalno razočaranje.
AMER je film bez konzistentne priče i sa minimumom dijaloga, sa rediteljskim postupkom koji kreće od reaktuealizacije giallo vizuelnih rešenja ali ih ubrzo prevazilazi i kreće da se širi na sve strane i prema De Palmi i prema Kenneth Angeru a u krajnjoj liniji i prema Walerian Borowczyku i visokoestetizovanim videoklipovima.
Ono što nesumnjivo drži AMER u okvirima art-housea i sprečava ga da sklizne u domen avangarde jeste to što iako se služi nekim rešenjima avangardnog filma sam po sebi nije avangarda već samo preuzima neke njene elemente kao ready made i moglo bi se reći da je AMER naslov koji je stilski apsolutno okrenut istoriji.
Njegov problem je u tome što ljubitelji takvih filmova-eseja ne cne taj deo istorije a oni koji cene tu istoriju ne vole filmove-eseje. Uklješten između te dve krajnosti, na kraju ostaje kao naslov koji ima svoj kvalitet ali ne i svoje mesto na savremenoj sceni.
* * * / * * * *
Ako film nije uspeo da se izbori za svoje mesto pod suncem, čemu onda * * * / * * * *?
Bez obzira što se radi o uspeloj stilskoj vežbi (nikada efektnije rekreiranje vizuelnog ugođaja 70-tih::: sa prvim delom filma koji je direktna posveta SUSPIRIJI, i trećim koji mnogo toga pozajmljuje od TAJNE NAPUŠTENE KUĆE), AMER je mnogo buke ni oko čega. U narativnom smislu, film ne nudi gotovo ništa. Sredni segment je posebno problematičan, dok bi treći trebalo da se skrati za 10-ak minuta - naravno, u tom slučaju ne bismo imali dugometražni film, ali to je već neka druga priča. Istina, AMER je prekrasno snimljen, ali najuspelija vizuelna rešenja su zapravo copy-paste već postojećih.
Razočaran sam.
Ja nisam kine-darvinista pa da osporim film jer nije našao svoje mesto. Meni je zbog toga žao...
I meni je žao. Ali biće bolje.