Der Tod weint rote Tränen

One of the few films that made me nervous with it's chaotic plot that leads to nonsense. I can say that the beginning of the action was in place, the shots were unusual, but still unique and well illustrated.

Many parts of the film are accompanied by intense music, which in some parts may be superfluous, at least with the power with which it is expressed. The subjective impression is as if you took a narcotic and as if you were straight, twisted at the same time.

The film served as an inspiration to Marilyn Manson for two music videos and I can say that he made a great whole, and 4 obvious reasons - the videos were much shorter than the film.

From another point of view, we can call this film an extravagant masterpiece in which a lot of effort has been invested, but through the continuation of the film, that same effort falls into the water.

Yet another exercise in all-style-no-substance film-studies-friendly/paying-audience-hostile giallo "homage" from Forzani and Cattet. Oh for Pete's sake - come on guys! Amer was one thing, quite interesting at the time, but the value of that film has somehow been retroactively diminished by the release of its identikit successor. Replicating the surface details of the giallo style is easy peasy - anyone can do it - it's the Spaghetti Bolognese of filmmaking. But the point of the original gialli classics was that they were proper functioning movies that would have worked as exciting thrillers even without the stylistic flash. Neither Amer, nor TSCOYBT, have proper plots, and for me, failure to provide an adequate narrative element is an abdication of the filmmaker's primary responsibility.

I hope, for Forzani and Cattet's sake, that they are not currently working on another EU-cash-lake-for-art-house-piffle funded giallo homage, because they will be risking losing their credibility forever after, which would be a shame, because I get the impression that they are extremely talented and visionary filmmakers.

Dan Kristensen (Klaus Tange) returns home one day and discovers that his wife Edwige has disappeared. Dan starts investigating Edwige's disappearance and the strange and mysterious places and people of his apartment complex. Did she leave him? Is she dead? Also, what the hell is going on with his creepy neighbors? Of course the police can't help him, they just don't believe him. Soon his search and obsession cause him to descent into a world of madness. Fact and fiction become harder to distinguish. Dreams and nightmares intertwine with reality until they become one and the same. Will he ever find his wife's killer? Is there a killer? Who's the killer?

Written & directed by Hélène Cattet and Bruno Forzani The Strange Color of Your Body's Tears is a natural progression from their 'ABCs of Death' segment O is for Orgasm. The similarities aren't only on a surface level (cinematography, editing), but also on a thematic level, L'ètrange couleur des larmes de ton corps (original title) represents both an evolution and maturation for the two auteurs. Not only is this a very entertaining and visceral film, but it's also a complicated, surreal story. The narration is anything but linear or straightforward. Forzani explained that they are both inspired by the Italian Giallo, but also by Satoshi Kon. Cattet also cited Brian De Palma as an influence.

The characters in The Strange Color of Your Body's Tears have a way of relating to the space around them reminiscent of Michelangelo Antonioni's work (namely L'Eclisse). The '70s score, borrowed directly from Italian films creates a playful, but at the same time scary mood, while the loud sound mixing and the entrancing imagery enable the viewer to be transported into the film's world. Even if the story is anything but clear on a first viewing, the film is always interesting to watch and experience on a purely sensorial level (much like a David Lynch film). Like Amer, this film more than just a love letter to Italian cinema, it's a work of art that stands on its own. There are throwback qualities to it, but the film works for a modern audience as well.

What I appreciated and take away most from complex films like this one are the cinematography (à la Tutti i colori del buio), the tone and atmosphere and the fantastic soundtrack. While it loses some of its pace in the second act, it returns with a fury in the last act, with flashbacks, black & white sequences (with an altered frames per second rate) and all sorts of violent crazy stuff happening. It is a very re-watchable film, especially because it's difficult to fully understand on a first viewing (or ever?). I was a little bit let down by the poor character development in the film, though I realize that wasn't the film's intent or goal, still I like to have relatable characters beyond their physical appearance, accent and attire.

Personally, I'd say this is a step up from Amer and so I can only be excited for anything the two will do in the future. I recommend this film if you enjoyed previous work from Cattet & Forzani, you like the films or directors I've mentioned or just want to try something new. This is definitely a film best enjoyed in theaters (even if people walking out are annoyingly distracting), if you watch it at home make sure you have a good sound system: That's how the directors intended you to view their picture.

The Strange Color of Your Body's Tears is a tribute to Italian Giallo slasher films of the 60s and 70s. The film begins with a man returning to his apartment after he has been away on business for two weeks, only to find that his wife is missing. The man then tries to find his wife. He searches through her stuff calls, the police, and visits a mysterious lady up on the seventh floor of his building. But things take a turn for the worse when he discovers something that has mysteriously appeared in his apartment. The film then becomes a disjointed serious of dream sequences and flashbacks that become increasingly hard to follow.

The Strange Color of Your Body's Tears is second film by the Italian horror duo, Hélène Cattet and Bruno Frozani. And let me just say that these two know what they're doing, the film is very well crafted, the blocking and camera work in this is some of the freshest I've seen in any film from the past few years. The cinematography (shot by Manuel Dacosse) is fantastic. The film is vibrantly colorful, has flawless lighting, and does a great job of getting you up close and personal with the characters in the film. The sound design is also insanely good. There's little dialogue in the film, (we get most of the information about the characters through what we see.) but the void the absence of dialogue has made is filled with some of the most detailed and complex sound design I've heard in a horror film.

But where The Strange Color of Your Body's Tears succeeds in style, it fails in story. With all of its jumping around, cryptic storytelling, and dream sequences it becomes nearly impossible to follow, (at least towards the end.) and thus the film fails to engage its audience. The story in itself wasn't that great to start with, and they never really add anything onto it, if anything they take away from where the story started by making it so confusing and to make it worse they don't do much to try and make you follow their film. Their are aspects of the story that are really good, (like the back story of the lady on the seventh floor.) but on a whole the story is alright at best, and a muddled mess at worst.

While not bad a bad film, The Strange Color of Your Bodies Tears could have been much better than it actually was. Hélène Cattet and Bruno Frozani both definitely have talent, they just need to work on focusing in on a single theme or story, and making it coherent. If they are able to do these two things the film they make will almost definitely be a masterpiece. But for now I'm satisfied with The Strange Color of Your Bodies Tears.

5.9

Certainly in the spirit of giallo but with the soul of Kafka. No simple narrative flow, not even a regular narrative structure, this visual and aural treat is not the simplest of watches. Always beautiful with continuous references to stained glass, art nouveau, eyes, knives and bared and bleeding flesh, the music and effects are also alluring, evocative and disturbing. A man returns from a business trip to find he cannot find his wife ( Edwige, nudge nudge aficionados! ) and that's about it, unless you count the wondrous building in which the film takes place or the spaces behind the walls. The directing duo are clearly fascinated by the Italian genre films of the 60s and early 70s and deliver up the most sumptuous offering, its just that, not unreasonably, they are less interested in the story lines but more in the more primal elements that go into even the lesser giallo. They love the colours, the sounds, the wide eyed screams and the trickling blood. The confused participants who know not whether they are mad or even dead, cannot help but draw us in to this manic mayhem and those of us who, similarly enjoy this craziness, can only applaud and breathe a sigh of relief we got out alive.