Amer

Every single person that tries to explain this movie is lying to you. All of the subtext they speak of, all the symbolism, all the monumentalizing of genre pictures, it's all nonsense. This movie is very obviously about eyebrows, and no one will ever convince me otherwise.

Highly original - and deeply flawed. "Amer" masquerades as giallo but does in fact share more similarities with the introspective and (almost violently) sense-heightened art films of Lodge Kerrigan and Philippe Grandrieux. It is, however, definitely inferior to the work of these directors. I absolutely loved the sequences with the razor and with the young girl walking past a motorcycle gang. Those sequences managed to stimulate my senses. Too many of the other sequences left me cold.

A triumph of stylistic mimicry, it completely succeeds in imitating the visuals of the campy gialli of the 70s. To blame it for the simplistic plot is completely unfair because no giallo ever excelled in that regard. What I did miss, though, was the whodunit aspect. This is a more introspective, even artsyfartsy, film which makes for a curious mixture. The expansive editing, focusing a lot on the body and face of the rather unattractive protagonist, got really tiresome. Should have been a short.

An interesting experiment but the hyper stylisation suffocates it and prevents it from becoming anything more. An extreme close up of a random body part and a woosh of sound fx does not always equal 'SENSUALITY'. Too much of the same technique used over and over again just strangles out any potential of atmosphere and eroticism. There's some great moments here (the last half an hour especially) but the filmmakers need to stop talking down to the audience and let the film breathe by itself.

Amer is a Giallo homage, but also takes to Clouzot's Inferno (a hypnotic study of sexual obsession). The good: the first 15 minutes are visually stunning and so are the last 15. Also, Amer is unapologetically experimental (which I appreciate). Now, for the bad: this movie is obsessed with sexuality, which wouldn't be bad if it weren't so obvious the directors were trying to out-Freud every single fucking movie out there. Most of the material is too academic, way too sterile to be exciting.

Wonderfully shot, but dreamlike story reminiscent of Italian Giallos is not for everyone.

I probably use the term "pure cinema" too often, but this, my friends, is definitely pure cinema. Both in the sense of what i used to term "sensualist cinema" in it's intensely tactile nature, de-emphasis of dialogue, psychology, and other forms of "characterization", and also in a more classical sense of shot construction and editing creating meaning. The comparisons to both Dario Argento and Philippe Grandrieux others have noted are completely accurate, and as a fan of both i loved it.

w/ Büsra

2. izleyisim oldu. film diyalogsuz, hikayesiz. sadece hisleri aktarmak için yakın cekim kamera, renk, sembolik ogeler kullanilmis. farkli deneyim ama anlatilmak istenenin dayanaklarini kurmak zor

A visually intense, hyper-stylized, psychadelic best of Italian horror influences experience. I feel like there are quite a few very specific references, especially in the middle segment, to things I haven't seen but I still loved it. The whole movie is intense even when very little is actually happening. Don't listen to anyone who calls it a giallo. There is some clear influence but it is definitely not giallo.

Excited to see a unique style that rarely happens.

Art house Giallo. More like a nightmare in giallo land than a narrative movie.

adorei

Quem dá nota baixa para Cattet e Forzani tem merda na cabeça. Essa duplinha não só revitaliza o giallo, como adentra o reino do horror psicossexual como os melhores do gênero, dentre os quais boa parte dos meus favoritos se veem referidos aqui, com especial ênfase do Bava. Manda pastar os "coming of age" femininos bonitinhos que você conhece, isso aqui é Freud na veia. BRrip sUN sujaidr

Too complex for me.

I tried watching 5 different films and 5 times I gave up after 30 minutes, pretentious twaddle. A few nice touches but too artsy fartsy and pleased with itself

Well, I haven't seen anything quite like this. I haven't seen any Argento either, so that's probably why.

13 Aralik 2011 & Orjinal bir yapim oldugu icin amer'i bir yere alip koyamiyorum. zihnimde kendisine yer acmayi basardigi icin sevdim. giallo turunun kapilarini aralamami saglayan bir yapimdir. gorsel anlamda sinemanin tum nimetlerinden yararlanip kendi tarzini ortaya koyabiliyor ama en buyuk artisi sesler ile kurdugu/yarattigi dunya. hikaye kismi daha guclu olsaydi ve sadece gorsele dayanmak zorunda kalmasaydi daha iyi olacakti.

Incredibly sensual - especially the second chapter. Lots of cinematic inventions - technically very rich. Experimental use of overexposure intrigued me. Also very frequent use of close ups and the incredible soundtrack rip the place apart and leave the audience with the inner desires of the protagonist. - It is as if the film is the sexual tension between the actress and the audience - Loved the ending.

I didn't like the story line but what I saw was stunningly beautiful.

It is both a film that can be easily explained and yet can also be trivialised, by trying to explain it, when it deserves far more praise...what I will say is that this takes the idea of style for the sake of style to a point that it is much more than that, where the visuals and sound design are utterly incredible. By making an art film from Italian genre tropes, the directors manage to make something far more visceral and tense than most horror films.

Just watched this Belgian attempt at a giallo and I'm not sure if I've seen a work of genius or 90 minutes of lunacy. At the moment I'm siding more in favour of genius

The S&M fetish that appears to be sexual is really cinematic, and worthlessly pro-am at that. An everlasting ordeal of sexual confusion on both the character's and the filmmakers' end.

Technically astounding, with really beautiful shallow DoF photography and wonderful foley sound, a sensual feast. There are some memorable sequences - the motorbike gang and the razor scene in particular, but the film fell apart badly for me in the third act. I'm not familiar with with giallo, perhaps I missed the references.

"This kaleidoscopic freak show, indebted as much to Argento and Bava as it is to Cronenberg, Deren, and Brakhage, is a study in sexual cause and effect." - Ed Gonzalez