{"id":4263,"date":"2014-04-10T23:17:19","date_gmt":"2014-04-10T22:17:19","guid":{"rendered":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/?p=4263"},"modified":"2014-04-11T11:29:02","modified_gmt":"2014-04-11T10:29:02","slug":"the-strange-colour-of-your-bodys-tears","status":"publish","type":"post","link":"http:\/\/www.electricsheepmagazine.co.uk\/reviews\/2014\/04\/10\/the-strange-colour-of-your-bodys-tears\/","title":{"rendered":"The Strange Colour of Your Body\u2019s Tears"},"content":{"rendered":"
\"The<\/a>
The Strange Colour of Your Body\u2019s Tears<\/figcaption><\/figure>\n
\n

\nFormat:<\/B> Cinema

\nRelease date:<\/B> 11 April 2014

\nDistributor:<\/B> Metrodome

\nDirector:<\/B> H\u00e9l\u00e8ne Cattet, Bruno Forzani

\nWriters:<\/B> H\u00e9l\u00e8ne Cattet, Bruno Forzani

\nOriginal title:<\/B> L’\u00e9trange couleur des larmes de ton corps<\/i>

\nCast:<\/B> Klaus Tange, Jean-Michel Vovk, Sylvia Camarda, Sam Louwyck

\nBelgium, France, Luxembourg 2013

\n102 mins\n<\/p>\n<\/div>\n

As gorgeous as it is oppressive, H\u00e9l\u00e8ne Cattet and Bruno Forzani\u2019s latest neo-giallo<\/i> is an ultra-sensuous, hypnotic trip through dark desires and the disturbing, delicious lines between pleasure and pain, madness and sanity, dream and reality. With a title that riffs on the wonderfully convoluted names of the films that inspired it, The Strange Colour of Your Body\u2019s Tears<\/i> strengthens the potent aesthetic vision of the directing duo\u2019s 2009 feature debut Amer<\/i><\/a>, focusing entirely on pure sensation. In this hallucinatory, obsessive psychosexual dream, every shot is a marvel of composition, every object and texture is fetishized: leather, gloves, boots, jewels, blood, mirrors, blades. Male and female bodies are repeatedly penetrated, skull wounds are shaped like sexual organs, broken mirror shards enter flesh, as sensual ecstasy becomes deadly and lovers turn assailants.<\/p>\n

Read our interview with H\u00e9l\u00e8ne Cattet and Bruno Forzani<\/a>.<\/div>\n

The narrative is even more minimal than in its Italian predecessors \u2013 a man is looking for his missing wife \u2013 and it serves as the pretext for an intense distillation of the visual and sonic motifs of the giallo<\/i>. Just as its masters effortlessly found stunning decors in beautiful, decadent Italian architecture, Strange Colour<\/i> makes great use of the Brussels art nouveau building in which it is set. With its exuberance of organic round shapes, flowery motifs, voluptuous naked women, twisted stairs, stained glass and golden curlicues, the building is like a living organism, the figures on its walls breathing and moaning with the rapture and agony of its inhabitants.<\/p>\n

This review was first published as part of our LFF 2013<\/a> coverage.<\/div>\n

A baroque film composed of giallo<\/i> elements that are themselves baroque, Strange Colour<\/i> constructs a dizzying, infinite cascade of doubles and repetitions, of stories within stories and structures within structures, where everything is mirrored, multiplied and fragmented. While it pays brilliant homage to its models, it is compellingly alluring in itself, and its meticulously crafted world of lush excess, sumptuous sophistication and opulent illusion is deeply seductive. <\/p>\n

Virginie S\u00e9lavy<\/B><\/I><\/p>\n

Watch the trailer:<\/B><\/p>\n