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One of Christopher Nolan’s most intriguing comments on “Tenet”’s ill-fated 2020 press tour unveiled the mode of inspiration for his time-swerving spy thriller. He wanted to collate the tropes of the sub-genre from his memory and recollections of film viewings past, hoping the mental results would result in a spy movie urtext — an espionage flick composed of the most profound elements of all other espionage flicks. Concluding the thought, he cited Sergio Leone’s “Once Upon a Time in the West” as an example of the same kind of approach, but with classic Hollywood westerns.

If “Tenet” was some kind of definitive arabesque on the spy movie, it would make a fine double bill at a classy cinematheque with “Reflection in a Dead Diamond,” which has just premiered in competition at the Berlinale. Co-directed by the artsy genre specialists Hélène Cattet and Bruno Forzani, the film shuffles a myriad of spy thriller trademarks,...

Flaunting more leather and latex than a specialty shop off Times Square in the 1970s, Reflection in a Dead Diamond (Reflet dans un diamant mort) is another gory, glammy, eyes-glazing-over feature from French directors Hélène Cattet and Bruno Forzani.

Indeed, both the ’70s and ’60s are eras from which the avant-garde duo have always mined their material, basking in the excesses of Italian giallo horror flicks, Z-grade Spaghetti westerns and other cult items in their arthouse rehashes, which include Let the Corpses Tan and The Strange Color of Your Body’s Tears. The pair’s latest plays like a forgotten Franco-Italian James Bond ripoff that’s dropped too many tabs of acid, then been slapped with a hard-r rating for its abundance of stabbings, slashings and other kinds of twisted desecrations of the human flesh.

A bold choice for competition at the Berlinale, and clearly more fit for midnight or genre fest programs,...

Hélène Cattet and Bruno Forzani, the filmmaking duo behind The Strange Color of Your Body’s Tears, and Let the Corpses Tan, are back with a unique spin on the Eurospy subgenre with Reflection in a Dead Diamond.

Below we can exclusively unveil Reflection in a Dead Diamond’s European poster by Gilles Vranckx ahead of the film’s premiere this weekend at the Berlin International Film Festival.

Update: Shudder has acquired the film for premiere later this year.

In the film, “John D, a septuagenarian living in a luxury hotel on the Côte d’Azur, is intrigued by his next-door neighbour who reminds him of the wildest years on the Riviera during the 1960s. At that time, he was a spy in a rapidly developing world full of promise. One day, this neighbour mysteriously disappears… bringing John face to face with his demons: are his former adversaries back to wreak havoc on his idyllic world?...

AMC Networks’ Shudder has bought “Reflection in a Dead Diamond,” Hélène Cattet and Bruno Forzani’s supernatural crime film, ahead of its world premiere at the Berlin Film Festival.

The Shudder acquisition deal covers North America, the U.K. and Ireland, Australia and New Zealand, with plans to release the film exclusively on the streamer in 2025.

“Reflection in a Dead Diamond” takes place following the disappearance of a mysterious woman, as a debonair 70-year-old ex-spy living in a luxury hotel on the Côte d’Azur gets “confronted by the demons and darlings of a lurid past in which moviemaking, memories and madness collide,” reads the synopsis.

The film stars Golden Globe-winning Italian actor Fabio Testi, Yannick Renier, Koen De Bouw, Maria De Medeiros, Céline Camara and introduces newcomer Thi Mai Nguyen.

“Hélène Cattet & Bruno Forzani are simply two of the greatest genre filmmakers in the world. Each film, an event,...

Hélène Cattet and Bruno Forzani — the husband-and-wife filmmaking duo behind Amer, The Strange Color of Your Body’s Tears, and Let the Corpses Tan — are back with Reflection in a Dead Diamond.

Watch the teaser trailer for the tribute to 1960s European spy cinema below.

When the mysterious woman in the room next door disappears, a debonair 70-year-old ex-spy living in a luxury hotel on the Côte d’Azur is confronted by the demons and darlings of a lurid past in which moviemaking, memories and madness collide.

Fabio Testi (What Have You Done to Solange?), Yannick Renier, Koen De Bouw (Loft), Maria de Medeiros (Pulp Fiction), and Thi Mai Nguyen star.

The mystery action thriller will have its world premiere in competition at the 75th Berlin International Film Festival later this month.

Italian sales company True Colours acquired the worldwide rights to the film last year. Keep an eye out for US release details.

Hélène Cattet and Bruno Forzani’s Reflection In A Dead Diamond has closed sales to a number of key territories ahead of its premiere this month in Berlinale competition and has also exclusively revealed a first look to Screen.

Italian sales agent True Colours has signed deals with Plaion Pictures for German speaking territories and Hishow Entertainment for Mainland China. Further deals with UFO Distribution for France and Cinéart for Belgium and the Netherlands were brokered by the film’s producer Pierre Foulon of Kozak Films.

The film, starring veteran Italian actor Fabio Testi, is an homage to the 1960s...

Kurt Russell refuses to accept that Bone Tomahawk is a typical "Horror Western," and, yet, he has compared it with his own classic 85% Rt horror flick. Bone Tomahawk holds a Rotten Tomatoes critics score of 91%, suggesting that critics have almost unanimously praised the film for the chills and thrills it instills in viewers. The film's audience score of 74% highlights that even though most viewers gave it a high rating, not many found it good enough. However, since most of its reviews have been positive, it would be fair to say it is a universally loved Western movie.

Another universal opinion about the film is that it deserves to be classified as a "Horror Western." The reason being that it seamlessly blends traditional elements of Western cinema with the heart-pounding terrors of battling the unknown. Interestingly, however, even though the film unfolds a nightmarish narrative in the backdrop of a rugged frontier setting,...

Italian sales company True Colours has acquired worldwide rights to Reflection In A Dead Diamond from cult genre film directors Hélène Cattet and Bruno Forzani.

The fourth feature from the Brussels-based duo is an homage to 1960s Euro-spy stories, set in the glamorous, decadent backdrop of the Côte d’Azur. Filming wrapped in December and the film is now in post-production.

Reflection In A Dead Diamond centres on a retired spy who fears his former enemies are back for a final fight when his intriguing next-door neighbour mysteriously disappears.

Known for their unique visual style, Cattet and Forzani’s films blend action,...

Tech developer Barco has brought its new Hdr Lightsteering cinema projector to Cannes, previewing the system for filmmakers in advance of a rollout that is expected to begin in early 2024.

This “lightsteering” technology is an option that Barco believes would give moviegoers a brighter, Hdr image — therefore a wider creative palette for filmmakers — compared with most of today’s laser-projection systems.

The tech effectively throws more light at parts of the image that require high brightness, but not the darker areas, which the company contends makes their system a more efficient user of light and therefore more cost effective than proposed Hdr-capable LED cinema screens.

The company has been presenting this system for more than a year at a bespoke setup in Hollywood to filmmakers and studio execs, after first debuting what was then-developing tech to a limited number of guests in private demos at CinemaCon in 2018.

At Cannes, Barco...

Returning to in-person gatherings after last year’s online event, this year’s Cartoon Movie pitch and co-production forum saw the teams behind 57 animated features pitch their development projects before 930 European industry delegates from 19 countries. Running over March 8 – 10 in the southwest city of Bordeaux in France, this year’s forum saw both international buyers (totalling 297 overall – a 12% increase from the previous edition) and adult skewing projects notch upward – two facts not wholly unrelated.

Whether on purpose or by some happy twist of fate, the four beneficiaries of this year’s Cartoon Movie Tribute Awards reflected a pair of key industry trends.

At an event where one third of the pitch projects were based on preexisting material, it was thus fitting that adaptation “Even Mice Belong in Heaven” — directed by Denisa Grimmová & Jan Bubeníček, co-produced by Czechia’s Fresh Films, France’s Les Films du Cygne, Slovakia’s Cinemart and Poland...

Kino Lorber And Giant Pictures Melt Minds With New Free Streaming AVOD Channel “Kino Cult” Bringing The Midnight Movie Experience Home: "Kino Lorber is excited to announce that they have partnered with Giant Pictures to launch Kino Cult, the new free ad-supported streaming destination for genre lovers of horror and cult films. Featuring hundreds of hours of curated, theatrically released films all in High Definition, with new titles added monthly, Kino Cult launches widely in the U.S. and Canada on October 1, 2021 across web, mobile devices and connected TVs, with VOD apps on all major devices such as Roku, Amazon Fire, Apple TV, Google TV, iOS, Android, and more. From the art house to the haunted house, the channel will dive deep into unapologetically weird genre cinema, blending recent art house discoveries fresh from cinemas with high quality restorations of notorious grindhouse gems.

Kino Lorber brings 40 years of experience as...

We can thank the limitations of the past year as it relates to filmmaking for an increased output of small-scale features as directors weren’t able to bring together large crews safely. Although many full-fledged productions got put on hold, there seems to be a plethora of anthology films in which filmmakers shared their visions of the pandemic experience, from Homemade to Erēmīta (Anthologies) to the forthcoming Cannes premiere The Year of the Everlasting Storm. Now, another notable one has been announced that is taking a different approach.

The prolific Japanese master Sion Sono, Bacurau co-director Kleber Mendonça Filho, Evolution helmer Lucile Hadzihalilovic, The Wild Boys director Bertrand Mandico, and the duo of Helene Cattet and Bruno Forzani (Let the Corpses Tan) have teamed together for a film that features five poetic visions of sexual ecstasy.

With the title of Shining Sex, Screen Daily reports it is part of the...

Elina Löwensohn, Paula Luna Breitenfelder, Vimala Pons, Agata Buzek, Pauline Lorillard and Camille Rutherford star. An Ecce Films production sold by Kinology. On 12 November 2019 will begin the seven-week shoot for After Blue, the second feature from Bertrand Mandico after The Wild Boys. The cast includes the American actress of Romanian origins Elina Löwensohn, the young Paula Luna Breitenfelder (in her first on-screen appearance), Vimala Pons,...

Hello, readers, and welcome to a new year of releases! We may already be well into the month of January, but this is our first official weekly Blu-ray and DVD recap of 2019, since last week was a quiet one on the home media front, and we already have a ton of titles to get excited for this Tuesday. If you happened to miss Hell Fest when it was in theaters last year, you can now catch up with Gregory Plotkin’s slasher on various formats, and as far as recent genre series are concerned, the first seasons of both The Purge and Castle Rock are making their way home tomorrow as well.

Scream Factory is kicking off another great year of releases with the Nic Cage thriller 8Mm, and Scorpion Releasing has put together a special edition Blu for Blind Date that cult fans are going to want to pick up.

Haute couture and cannibalism have been fitting cine-bedfellows since Anthony Hopkins cracked open the Chianti and fava beans back in 1989. After the more recent Raw resulted in mass festival walk-outs, Brazilian film-maker Guto Parente strives to follow suit by slapping sangrias at sun-kissed locales with axe thrashing, limb lopping and blood spitting/secreting. All by way of flesh mastication from the rich and supercilious. Otavia (Tavinho Teixeira) and Gilda (Ana Luiza Rios) are an affluent couple riding the life of Riley in a plush Brazilian beach home. But behind closed doors and phoney smiles, the pair are part of a cannibal club who meet to chow down on the remains of the hoodwinked poverty stricken, after hiring them as servants/sex slaves.

Aside from the complications that come with acquiring human flesh, there isn’t really anywhere for The Cannibal Club to go. Otavia and Gilda gazelle about protected and...

No one makes movies quite like French husband-and-wife team Hélène Cattet and Bruno Forzani. The directing duo first made a splash in 2009 with “Amer,” a postmodern homage to Italian giallo films that was followed up by another giallo homage, 2013’s “The Strange Color of Your Body’s Tears.” Both films are filled with a stunning blend of eye-popping and provocative visuals, a kaleidoscope of colors that evokes Dario Argento’s sumptuous technicolor nightmares, woven together with scores lifted from giallos from yesteryear. With this intoxicating cinematic formula, Cattet and Forzani quickly became must-watch genre filmmakers.

Rather than sticking with this successful formula, they branched out with their latest film, “Let the Corpses Tan,” putting their own spin on the western. “Let the Corpses Tan” takes place on a sun-soaked, isolated island hideaway, where a grizzled thug named Rhino (Stéphane Ferrara) and his gang plan to hide away with an eccentric artist,...

This past Friday, Kino Lorber released Let the Corpses Tan, the latest movie from the filmmaking team of Hélène Cattet and Bruno Forzani in New York and Los Angeles, and this week, their tribute to ’70s Italian crime cinema expands to theaters across the Us, bringing together an eclectic gaggle of characters in a bullet-riddled ballet drenched in sun, sweat, and hallucinatory visions. Daily Dead recently had the opportunity to speak with both Forzani and Cattet about their decision to turn the Let the Corpses Tan novel (written by Jean-Patrick Manchette and Jean-Pierre Bastid) into a cinematic experience, their approach to this story, the immense difficulties of finding their filming location, and more.

Congrats on the film, you guys. What was it about the story in the original book that felt right to you about translating it for film?

Hélène Cattet: First, it was me who read the book, and when I read the book,...

Mexican drama Ya Veremos is dominating the slew of specialty newcomers this Labor Day weekend, though overall limited release launches are trending slow. IFC Films doc Pick Of The Litter, however, is showing some gusto, scoring the weekend’s highest per-theater average among the specialties. Sony Classics, meanwhile, expanded Glenn Close starrer The Wife, crossing $1M, while A24’s Eighth Grade is expected to go over $13M by the end of the holiday weekend.

Pantelion/Lionsgate Ya Veremos opened in 369 locations, grossing an estimated $1,800,000 in the three-day. The company is estimating a $2.27M gross for the entire weekend, for a 4-day $6,165 average. Pantelion has had a good run with Labor Day weekend period releases including Instructions Not Included, opening at the end of August, 2013, eventually totaling over $44.46M, the highest-grossing Spanish-language film stateside. There was also Un Gallo con Muchos Huevos which opened in early September 2015, which had a cume of $9M.

French directing duo Hélène Cattet and Bruno Forzani burst onto the genre scene with their mesmerizing, impeccably crafted 2009 giallo film Amer. The married couple followed it up with the even more daring spiritual sequel The Strange Colour of Your Bodies Tears. Now, Cattet and Forzani are back and bringing their talent for precision filmmaking into other genres. In Let the Corpses Tan, based on the book Laissez bronzer les cadavres by Jean-Patrick Manchette and Jean-Pierre Bastid, thieves steal a pile of gold and getaway to a coastal village, the home of Luce, an enigmatic artist involved in a seedy, […]...

French directing duo Hélène Cattet and Bruno Forzani burst onto the genre scene with their mesmerizing, impeccably crafted 2009 giallo film Amer. The married couple followed it up with the even more daring spiritual sequel The Strange Colour of Your Bodies Tears. Now, Cattet and Forzani are back and bringing their talent for precision filmmaking into other genres. In Let the Corpses Tan, based on the book Laissez bronzer les cadavres by Jean-Patrick Manchette and Jean-Pierre Bastid, thieves steal a pile of gold and getaway to a coastal village, the home of Luce, an enigmatic artist involved in a seedy, […]...

“Let the Corpses Tan” tells you right away what it’s about. It’s about painting with bullets. And what a beautiful picture it makes.

The third film from directors Hélène Cattet and Bruno Forzani is, like their previous works “Amer” and “The Strange Color of Your Body’s Tears,” a reinvigoration of cult European filmmaking. The so-called “Eurosleaze” works of sensuality and violence that are sometimes celebrated, and sometimes rudely dismissed. The filmmakers seem to find within these allegedly outdated genres a fantastic inspiration, and they use iconic color timing, bold camera angles, and vibrant music to get away with telling stories so shocking, they probably wouldn’t be acceptable otherwise.

“Let the Corpses Tan” is a brusque about-face from their first two Giallo-inspired killer thrillers. It’s a dense shootout of a movie, incorporating elements of the spaghetti western, the ultraviolent grindhouse, and a surreal rumination on art itself.

Above: French poster for Django Kill… If You Live, Shoot!. Artist: Enrico de Seta.Starting today, the Quad Cinema in New York will be playing what must be the most entertaining and esoteric genre series of the summer. In advance of the release of the delirious nuovo spaghetti western crime thriller Let the Corpses Tan, the Quad has invited directors Hélène Cattet and Bruno Forzani to program ten personal favorites that have influenced their new film.The resulting curation is a fabulous mix of genres and locations, with films both well known (John Boorman’s Point Blank) and relatively obscure. The majority are from the filmmakers’ favorite period of the late ’60s and early ’70s—as the Quad’s introduction says, “apart from Quentin Tarantino, few writer/directors active in film today have the lifeblood of 1960s and 1970s cinema coursing through their veins as fulsomely as Hélène Cattet and...

Since its launch in 2012, the Sarajevo Film Festival’s Kinoscope sidebar has presented challenging, experimental and genre-bending titles from around the globe.

This year’s lineup includes an eclectic showcase of feature and documentary works from mostly young directors, half of them women, including Nicolas Pesce’s U.S. thriller “Piercing”; Dominga Sotomayor’s “Too Late to Die Young”; Hélène Cattet and Bruno Forzani’s “Let the Corpses Tan”; and Gustav Möller’s Danish thriller “The Guilty,” this year’s opening film.

Kinoscope programmers Alessandro Raja and Mathilde Henrot sat down with Variety to discuss the section and this year’s lineup.

Q: Half of your films are by female filmmakers. Is there a conscious effort on your part to present works by women?

Henrot: It’s a conscious selection which doesn’t require too much effort. Since the beginning of Kinoscope we’ve always chosen to have a balanced...

As July approaches the Screen Anarchy team is counting down the days until the arrival of the Fantasia International Film Festival. Select memebers of the team will be in Montreal to cover the tenth edition of the Frontieres Co-Production Film Market from July 19th to 22nd.    The market has announced the second and final wave of projects participating this year. A bevy of projects from filmamakers behind films like Les Affames, The Neon Demon and Only God Forives, Let the Corpses Tan, Bodom, and John Carpenter's The Ward.    Two additional programs this year include the Created by Women program, featuring six debut feature film projects from women filmmakers from across Canada. A really, really cool addition to this year's program is the Arctic...

[Read the whole post on screenanarchy.com...]...

As July approaches the Screen Anarchy team is counting down the days until the arrival of the Fantasia International Film Festival. Select memebers of the team will be in Montreal to cover the tenth edition of the Frontieres Co-Production Film Market from July 19th to 22nd.    The market has announced the second and final wave of projects participating this year. A bevy of projects from filmamakers behind films like Les Affames, The Neon Demon and Only God Forives, Let the Corpses Tan, Bodom, and John Carpenter's The Ward.    Two additional programs this year include the Created by Women program, featuring six debut feature film projects from women filmmakers from across Canada. A really, really cool addition to this year's program is the Arctic...

[Read the whole post on screenanarchy.com...]...

Belgian filmmakers Hélène Cattet and Bruno Forzani trade in the crushed velvet and creeping shadows of their giallo-worshiping first two films for blistering sun, creaking leather and raining bullets in Let The Corpses Tan, a glorious homage to 1970s Italian crime films.

After stealing a truckload of gold bars, a gang of thieves absconds to the ruins of a remote village perched on the cliffs of the Mediterranean. Home to a reclusive yet hypersexual artist and her motley crew of family and admirers, it seems like a perfect hideout. But when two cops roll up on motorcycles to investigate, the hamlet erupts into a hallucinatory battlefield as both sides engage in an all-day, all-night firefight rife with double-crosses and dripping with blood.

Based on a classic pulp novel by Jean-Patrick Manchette and featuring music by Ennio Morricone, Let the Corpses Tan is a deliriously stylish, cinematic fever dream that will...

Hélène Cattet and Bruno Forzani’s homage to 1970s Italian crime films Let the Corpses Tan has just been given a U.S. theatrical release plan, including a new poster and trailer. You can check out the U.S. poster to the right, and the trailer along with a list of theaters and cities the film will be hitting later this […]

The post Let The Corpses Tan Hits U.S. Theaters Later This Summer! appeared first on Dread Central.

The newest thriller from directors Hélène Cattet and Bruno Forzani, Let the Corpses Tan – also known by its French title Laissez bronzer les cadavres – now has its first U.S. trailer just ahead of its late-summer domestic release. After its initial premiere at the Locarno Film Festival, Let the Corpses Tan went on to screen at a handful of prestigious festivals around the world – including Toronto International (where we reviewed), Sitges, London, and the AFI Fest. Having directed Amer and The Strange Color of Your Body’s Tears, Cattet and Forzani have shown their dominance and hyper-stylization within the thriller genre – and now they’re bringing their expertise to the barren countryside in their neo-western Let the Corpses Tan.

The film tells the story of a gang of thieves who, after smuggling 500 pounds of gold, run into trouble when faced against complications from a pair of locals and police officers.

I've got an awesome trailer for you to watch for a very cool looking new film coming out called Let The Corpses Tan. This is a gritty shoot 'em up French "neo-western" thriller that is an homage to 1970s Italian crime films. This is the synopsis that was released: 

After stealing a truckload of gold bars, a gang of thieves absconds to the ruins of a remote village perched on the cliffs of the Mediterranean. Home to a reclusive yet hypersexual artist and her motley crew of family and admirers, it seems like a perfect hideout. But when two cops roll up on motorcycles to investigate, the hamlet erupts into a hallucinatory battlefield as both sides engage in an all-day, all-night firefight rife with double-crosses and dripping with blood.

The movie is based on a classic pulp novel by Jean-Patrick Manchette and also features music by Ennio Morricone. The film...

"I couldn't look away!" Kino Lorber has debuted an official Us trailer for the gritty, French "neo-western" thriller titled Let the Corpses Tan, or Laissez bronzer les cadavres. This premiered at the Locarno and Toronto Film Festivals last year, and is the latest feature from directors Hélène Cattet & Bruno Forzani. Here's the plot: A grizzled thug and his gang head to an island retreat with a haul of 250 kilograms of gold bullion to lay low; however, a bohemian writer, his muse, and a pair of gendarmes further complicate things, as allegiances are put to the test. The cast includes Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin, Michelangelo Marchese, and Marc Barbé. The trailer does a better job at introducing this stylish film than any text, so dive in and give it a look. Based on a classic pulp novel by Jean-Patrick Manchette, and featuring music by the master Ennio Morricone. Here's...

Event will open with Joern Utkilen’s Norwegian debut feature Lake Over Fire.

The second edition of Oslo Pix (June 4-10) will open with Joern Utkilen’s Norwegian debut feature Lake Over Fire and close with Gustav Moller’s Danish festival hit The Guilty.

The festival has three competition programmes: Nordic fiction, Nordic documentary and international competition.

The international competition is comprised of: A Gentle Creature, Daughter of Mine, Disobedience, Faces Places, Golden Exits, Soldiers. Story From Ferentari, Summer 1993, The Tale and Aga.

The Nordic fiction competition includes: Amateurs, Jimmie, Lake Over Fire, Team Hurricane, The Real Estate, Thick Lashes of Lauri Mantyvaara,...

A celebration of genre films both old and new, the Boston Underground Film Festival returns for its 20th year later this month at Harvard Square, and the lineup is packed with new anticipated titles such as Jenn Wexler's The Ranger and Coralie Fargeat's Revenge, as well as a 35th anniversary screening of Slava Tsukerman's Liquid Sky:

Press Release: Cambridge, Ma – New England’s spring festival season is nigh, with the 20th annual Boston Underground Film Festival returning to Harvard Square, bringing with it a five day fever dream of vanguard and description-defying filmmaking, including soul- thrillers/killers/chillers, to the Brattle Theatre and Harvard Film Archive from March 21st through the 25th. This year’s program includes some of the festival’s most eclectic and challenging selections to date, highlighting the harrowing, the horrifying, and the heady.

Kicking off the big 2-0 is the East Coast...

A shining beacon of the weird, the wonderful, the nasty, the niche, and the eclectic, Boston Underground Film Festival returns for its 20th edition next month, and has announced its first wave of feature titles. I had the great pleasure to attend last year, and was blown away not only by the variety and quality of programming, but also the amazing staff, volunteers, and venue. Already they're knocking it out of the park, with films such as Revenge, Coralie Fargeat's new take on the revenge thriller; Deborah Haywood's heartbreaking Pin Cushion; and Let the Corpses Tan, the latest trippy mystery from Belgian duo Hélèn Cattet and Bruno Forzani. There's some exciting queer content with underground film Liquid Sky, and what looks to be a fascinating...

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Review by Matthew Turner

Stars: Elina Lowensohn, Stephane Ferrara, Bernie Bonvoisin, Herve Sogne, Michelangelo Marchese, Marc Barbe, Pierre Nisse, Marine Sainsily, Dorilya Calmel, Aline Stevens, Dominique Troyes, Bamba | Written and Directed by Helene Cattet, Bruno Forzani

Belgian co-directors Helene Cattet and Bruno Forzani garnered an instant cult following with Amer (2009) and The Strange Colour of Your Body’s Tears (2013), both of which paid luxurious homage to 1970s giallo movies. Their latest film, Let the Corpses Tan (or Laissez Bronzer les Cadavres, original language fans) sees the pair applying their expert pastiche skills to violent European crime thrillers of the same decade, to deliriously enjoyable effect.

Loosely adapted from a 1971 French novel by Jean-Patrick Machete and Jean-Pierre Bastid, the plot is deceptively simple and a good deal more coherent than either of Cattet and Forzani’s previous films. Former Hal Hartley muse Elina Lowensohn plays Luce, a middle-aged artist who lives in a run-down,...

Hélène Cattet and Bruno Forzani, the duo behind the stunning Giallo inspired Amer as well as The Strange Color of Your Body’s Tears, will throw glitter and gold all over the Toronto International Film Festival with their Let the Corpses Tan (Laissez bronzer les cadavres!), which premieres tonight at the ongoing event. Adapted from Jean-Patrick Manchette and Jean-Pierre Bastid’s 1971 crime thriller, Let […]...

Hélène Cattet and Bruno Forzani, the duo behind the stunning Giallo inspired Amer as well as The Strange Color of Your Body’s Tears, have thrown glitter and gold all over their new trailer for Let the Corpses Tan (Laissez bronzer les cadavres!), which looks like it contains an epic and bloody shootout. Adapted from Jean-Patrick Manchette and […]...

Belgian filmmaking duo Bruno Forzani and Helene Cattet won a legion of dedicated fans around the world with their dazzling neo-giallo debut Amer several years back and they remain some of the most striking talents in European cinema today. While they've shifted styles slightly from project to project their signature style is always immediately recognizable, layered as it is with gorgeous retro-chic visuals. And the pair is back on the festival circuit now with their latest - a western titled Let The Corpses Tan (Laissez Bronzer Les Cadavres) - screening in Locarno and Toronto. Here's how Toronto describes it: Tiff Vanguard veterans Hélène Cattet and Bruno Forzani weaponize their aesthetic proclivities into an all-out bombardment of sensational style as they methodically adapt every devilish detail...

[Read the whole post on screenanarchy.com...]...