Amer (2009) | A stylish, sensual love letter to the Italian giallo genre
When it comes to suspense, horror and the fantastique, the calibre of film-making can range from slick, big-budget blockbusters to fan-made, blink-or-you’ll-miss-it, endeavours. I love them all equally but, only occasionally, does something come along that really touches me. One such film is 2009’s Amer. This meticulously crafted labour of love – the brainchild of Belgian film-makers Hélène Cattet and Bruno Forzani – pays tribute to the the 1960s and 1970s Italian giallo (thrillers) that have greatly informed the duo’s individual artistic visions. Highly-stylised and virtually dialogue-free, Amer (meaning ‘bitter’ in French) explores one woman’s quest for sensual awakening over three stages in her life as experienced through her senses.
The first – which takes its inspiration from a segment in Mario Bava’s 1963 Black Sabbath trilogy – sees Ana as a young child attending her grandfather’s wake. Relying solely on sound effects – from heavy breathing to whispers – Cattet and Forzani create an air of unease and eerie dread as little Ana watches the family maid conducting strange rites over her grandfather’s corpse, and then is shocked seeing her mother having sexual intercourse.
The second part draws on Japanese ‘pink’ films. Now a hormonal teenager, Ana strolls into a seaside village one hot summer’s day and becomes aroused by the sights and sounds around her – in particular, the sound of the sea and of a youth playing with a ball. Originally planned as a short, this section was the springboard from which Amer grew.
The final act, in which an adult Ana returns to her family’s now rundown estate, is where Amer triumphs. After a taxi ride that turns into a wildly erotic daydream, Ana settles into the mansion. But her solitude is soon disturbed by masked men who chase her into the estate’s wild, overgrown garden. Ana’s surreal living nightmare finally comes to an end in a shocking, erotically-charged climax…
I had so much fun trying to pinpoint the film’s many visual points of reference – the mansion is a nod to Dario Argento’s Deep Red, while a runaway football recalls the Toby Dammit segment in Fellini’s Spirits of the Dead – and this from two film-makers with no formal training? Wow! As a paean to the power of seduction, Amer is a feast for the eyes as well as the senses and a wonderful example of ‘film as art’ that plays beautifully on both the big and small screens. Anyone who loves bloody good editing will lap this up and if you want to see what the Belgian Bavas did next, check out my review for their debut feature, The Strange Colour of Your Body’s Tears.
Amer is available on DVD and Blu-ray in the UK, and screens regularly on The Horror Channel (Sky 319, Virgin 149, Freesat 138).
Posted on August 16, 2014, in Avant Garde, Horror, Must See, Must See, Must-See, Thriller, World Cinema and tagged Amer, Dario Argento, Hélène Cattet and Bruno Forzani, Horror, Mario Bava, Must See, The Horror Channel, World Cinema. Bookmark the permalink. Leave a comment.