L'étrange couleur des larmes de ton corps

At first I couldn't really explain why I didn't like this film. After all, the foyer and staircase in the building are the kind of atmospheric luxury one expects in a giallo or apartment horror, and the old lady upstairs reminded me a bit of The Sentinel, one of my favorite films ever.

I think it's the main guy. I don't like him. Not that I like every horror protagonist or "point of view" killer in giallo, but I couldn't empathize or feel horror, I just felt a kind of worldly distaste. The kind of distaste I feel for Wall Street moguls, tax accountants, and Republicans. Not the kind of supernatural fascination or psychological curiosity one might have in the horror/thriller genres.

In fact nothing about this felt haunted to me. There was no pang of nostalgia, no whisper of ghosts (real or imagined), no monstrous memories sparked, no sleeping dogs refused to lie. The Strange Color of Your Body's Tears is more of surreal modern nightmare centering about a rich white man. His dream felt incoherent in a bad way, it did not compel me to pay attention, I could barely get through this. But I have to give it 6 stars for the incredible beauty of particular scenes.

Being visually stunning this movie is great essentially for its amazing cinematography and the way the camera is used.

Detailed and wonderful plans, vivid colors, amazing sets inside Art Deco buildings; it all have an astonishing visual effect.

The plot is mysterious and complex.

It's all about a murderer that is killing people inside their houses, but without breaking anything or leave any clue. But who is this murder anyway?

It's one of those movies you can't figure out the entire plot at the first sight! At least I didn't!

But I was amazed with the strange colors of this film!

I love Giallo stuff and when there's a movie that pays tribute or respect to the genre, I'd give it a go. So with this one, seeing a really cool cover of the DVD and being French and all, hey off course :) I like the idea of a missing lover story and I really like the stylized detailed, closed up shots and sounds of many of the scenes. BUT I find it a bit much. I feel that with Giallo, being psychedelic doesn't mean,psychedelic shots of every scenes, this movie has an amazing / best art nouveau back drop that it self already gives a certain persona. I find my self looking the other way just every now and then to rest my eyes also press the ff button just because my brain is telling me " yes I got it, got the idea...next ". However I still recommend it to you, because it has a very good story and all this stuff I'm writing about is worth to look at. But for me.....a bit over done

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.

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.