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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,...

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.

After an extremely long hiatus, Mo returns in the new year, with Season 2 finally getting a release date and trailer from Netflix.

Mohammed Amer’s comedy series will return for its second and final season on Thursday, Jan. 30, with all eight episodes, TVLine has learned. Mo’s first season released back in August 2022, and it was later renewed for Season 2 in January 2023.

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Mo Amer will set off on a new stand-up comedy tour beginning in February.

Titled “Mo Amer: El Oso Palestino” — Spanish for “The Palestinian Bear” — the tour will Amer discuss “life, family and his journey as a new dad in today’s political climate,” per the official description. News of the tour comes just ahead of the release of Season 2 of “Mo,” the self-titled Netflix series Amer writes, produces and stars in.

Amer has two stand-up specials — “The Vagabond” and “Mohammed in Texas” — currently streaming on Netflix. Besides “Mo” and his live comedy, he’s known for starring in “Ramy” on Hulu, and in 2022, he appeared in the DC film “Black Adam.”

See a full list of dates for “Mo Amer: El Oso Palestino” below. Tickets go on sale Jan. 10 at 10 a.m. Fall dates are yet to be announced.

Feb. 13 — Milwaukee, Wis. — Turner Ballroom

Feb. 14 — Minneapolis, Minn. — Varsity Theater

Feb.

With every year comes difficult decisions for networks and streamers alike to either hold on to their series or let them go.

2025 is expected to see several beloved series coming to an end, including “Bel-Air,” “Billy the Kid” and “Power Book IV: Force,” among others. Netflix’s “The Upshaws” and “Heartbreak High” similarly have ends in sight, though it’s unknown exactly when that might be. Some of Netflix’s biggest and longest running shows are also coming to a close this year, including “Stranger Things,” “Squid Game” and “Big Mouth.”

For the full list of all of the TV shows that have been renewed, canceled or are expected to end in 2o25, see below. This list will be updated with renewals and cancellations as the year goes on.

“Bel-Air” (Peacock) – Ending

Peacock’s reimagining of the ’90s sitcom “The Fresh Prince of Bel-Air” was renewed for a fourth and final season in December,...

After an extremely long hiatus, Mo finally returns in the new year, with Season 2 getting a release date from Netflix.

Mohammed Amer’s comedy series will return for its second and final season on Thursday, Jan. 30, with all eight episodes, TVLine has learned. Mo’s first season released back in August 2022, and it was later renewed for Season 2 in January 2023.

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Ramy Youssef and his Cairo Cowboy production banner have signed a first-look TV deal with Netflix, Variety has learned.

Under the deal, Youssef and Cairo Cowboy will develop and create new scripted projects for the streamer.

Youssef is the co-creator and executive producer of the Netflix series “Mo” alongside Mo Amer. The series debuted its first season in 2022 with the second and final season currently in post-production. Youssef is also the co-creator and executive producer on the comedy series “Golf” alongside Will Ferrell, with Youssef also set to play a character in that series.

Youssef is best known for creating and starring in “Ramy” on Hulu, which was inspired by his own experiences as a first-generation Egyptian-American Muslim living in New Jersey. He won a Golden Globe for best actor in a television series–musical or comedy in 2020 and subsequently received Emmy nominations for both best actor in a comedy...

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,...

Arrow Video have released Mario Bava’s Blood And Black Lace on Limited Edition Uhd, Limited Edition Blu-ray and Limited Edition Uhd with Arte Originale.

We have more details of these releases below.

Blood And Black Lace – Limited Edition Uhd

The Christian Haute Couture fashion house is a home to models… and backstabbing… and blackmail… and drug deals… and Murder.

Having established a template for the giallo with The Girl Who Knew Too Much, Mario Bava set about cementing its rules with Blood and Black Lace. In doing so, he created one of the most influential films ever made – an Italian classic that would spearhead the giallo genre, provide a prototype for the slasher movie, and have a huge effect on filmmakers as diverse as Dario Argento and Martin Scorsese.

Newly restored from the original camera negative and presented here in its original uncut form, this all-new 4K Ultra HD...

Karim Amer has made documentaries about seismic geopolitical events as they unfolded before. In the Oscar-nominated documentary The Square — which he produced — footage of the chaos and carnage in Cairo’s Tahrir Square helped offer an uniquely immersive account of the Egyptian Revolution of 2011.

But nothing he’d made previously compares to Defiant, premiering in Toronto on Sep. 9 and capturing Russia’s invasion of Ukraine from the unique perspective of key decision makers in Kiev — including minister of foreign affairs Dmytro Kuleba — politicians suddenly and unexpectedly thrust into a wartime government.

“The stakes are so high, because it’s the largest conflict we’ve seen since WWII and anything could happen,” says Amer, who swapped his producer hat for director, teaming up with longtime producer Mike Lerner (The Square, Hell and Back Again) and Odessa Rae, a newly-minted Oscar-winner for Navalny.

Access is absolute key for a film like Defiant,...

New films from legendary documentarians Frederick Wiseman and Errol Morris and new work from directors Raoul Peck, Lucy Walker, Roger Ross Williams and Karim Amer will screen at the 2023 Toronto International Film Festival, which announced its TIFF Docs lineup on Wednesday.

The 93-year-old Wiseman will present the North American premiere of “Menus – Plaisirs Les Troisgros,” a four-hour deep dive into a fabled Michelin-starred restaurant in France. Morris will have the international premiere of “The Pigeon Tunnel,” which is built around a Morris interview with John le Carre that turned out to be the last interview the espionage novelist gave before his death in 2020.

The 22 films announced on Wednesday include 10 world premieres, including Amer’s “Defiant,” Walker’s “Mountain Queen: The Summits of Lhakpa Sherpa,” Peck’s “Silver Dollar Road,” Williams’ “Stamped From the Beginning” and Caroline Suh and Cara Mones’ “Sorry/Not Sorry.” Of the 26 directors represented by those films,...

Grimmfest, Manchester UK’s International Festival of Fantastic Film, joins Méliès International Festivals Federation.

Regular attendees that look forward to catching up with the annual selection of short film premieres at Grimmfest, will be pleased to hear that this year, Grimmfest will be hosting three short film programmes across the festival period (6th-8th October 2023), in celebration of their new membership of the Méliès International Festivals Federation.

The Federation, recently held their annual general assembly at Cannes film festival, and the 26 member festivals voted for Grimmfest to join, and thus become the only English festival of fantastic film in the Federation.

Each year member festivals vote for their best ‘Fantastic’ feature film and short film, with an award for each, presented at Sitges. Previous winners have included Alex Garland’s Men, Prano Baily-Bond’s Censor, Anders Thomas Jensen’s Riders Of Justice, Peter Strickland’s In Fabric, Lars Von Trier...

Mo Amer, the guest on this episode of The Hollywood Reporter’s Awards Chatter podcast, which was recorded via Zoom in front of students at Chapman University, is a Kuwait-born Palestinian standup comedian, writer, producer and actor. His semi-autobiographical rookie comedy series Mo — which was produced by A24 and streamed by Netflix, which he co-created with Ramy Youssef, for which he wrote the pilot and on which he stars — is the first ever Palestinian-American sitcom, and is currently generating Emmy buzz.

The New Yorker has described Mo’s depiction of an undocumented immigrant’s life in Houston as “delivered with a warmth, confidence, and localism that evokes Spike Lee’s Brooklyn, E-40’s Bay Area or the Philadelphia that Sylvester Stallone memorialized in Rocky.” Since the show first dropped last August 24, it has accumulated rave reviews leading to a 100 percent score on Rotten Tomatoes, fans like Steven Spielberg and widespread...

In late February 2022, the cast of Netflix’s roaring historical drama, The Last Kingdom,were in icy Budapest. They were filming the final scenes of the franchise’s movie spinoff, Seven Kings Must Die. It was also the month that Putin’s Russian army invaded Ukraine, around 700 miles east of Hungary’s capital. “There are no words for a situation like that,” says Alexander Dreymon, the 40-year-old German star and producer of Seven Kings, as he recounts the influx of refugees that came through the Budapest train station. “You know, a lot of Hungarian families opened their doors to Ukrainians.” He recalls how he and his castmates lent a hand by shuttling Ukrainians to Hungarian homes. “We met a lot of people who had fled Ukraine,” he says, solemnly. “It was very moving. We would go to the train station to see if people needed rides. It’s heartbreaking. And...

Exclusive: Stand-up comedian Mo Amer is the latest to join Dwayne Johnson’s Black Adam posse for New Line/DC.

Details of his role are being kept secret, but he joins an ever-growing cast that includes Johnson in the title role, Pierce Brosnan as Dr. Fate, Aldis Hodge as Hawkman, Noah Centineo as Atom Smasher and Quintessa Swindell as Cyclone, with Marwan Kenzari, James Cusati-Moyer and Bodhi Sabongui rounding out the cast.

Amer is known for his Netflix comedy special Mo Amer: The Vagabond and the award-winning Hulu sitcom Ramy on which the comedian stars as Ramy Youssef’s Muslim cousin Mo, who owns a diner. Amer is one-third of the comedy troupe Allah Made Me Funny. He appears in the upcoming comedy film Americanish.

Jaume Collet-Serra, who also directed Johnson and Emily Blunt in Disney’s upcoming July 30 theatrical release Jungle Cruise, is directing Black Adam. Johnson, Dany Garcia...

After posting big numbers in the Live+Same Day TV ratings, ABC’s “The Little Mermaid Live” has emerged at the top of the charts for the week it aired after three days of delayed viewing.

The live musical, which featured Auliʻi Cravalho in the titular role and a powerhouse performance from Queen Latifah as the evil Ursula, grew 26% from a 2.6 rating to a 3.2 in Live+3. It managed to hold off “The Masked Singer” on Fox and “This Is Us” on NBC, which grew to a 2.8 and a 2.4 respectively.

It will be interesting to see whether “The Little Mermaid” can carry home the trident after seven days of delayed viewing, given that live TV typically grows less than non-live.

In terms of total viewership, the special came second in L+Sd behind “NCIS,” but after three days of delayed viewing it managed just under 11 million total viewers and was overtaken...

Hélène Cattet and Bruno Forzani’s Let the Corpses Tan is a film about sensations, derived more so from the mechanics of filmmaking than from storytelling. Like their previous works, it exists as a standalone genre film in the classic European mold, even when divorced from its stylistic trappings, with sunshine and gunfire supplanting dark corridors and unsheathed daggers. In the last ten years, the reception of Cattet and Forzani has come to understand theirs as a tactile cinema: What happens onscreen is never quite as important as how it looks and sounds—or perhaps, how it ‘feels’—while it’s happening. While Corpses is certainly exploitation cinema formally in its emulation of European westerns and gangster films, it is also exploitation cinema by design in its manipulation and abstraction of photography and sound.As with their two previous features Amer (2009) and The Strange Color of Your Body’s Tears...

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, […]...

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...

Homage has dominated (some may argue, plagued) the horror market in recent years, from the retro ’80s to the luxurious ’60s, we’ve seen several eras recreated on screen to varying degrees of success. Rather than simply imitate, some filmmakers have inverted, distorted, and modernized these beloved styles into something entirely new. Giallo masters Hélène Cattet and Bruno Forzani provide the perfect example. This year, the duo returns for their third full-length feature, this time focusing their talents on a sun-baked heist thriller. While its story is rather incomprehensible (even for admirers of their previous work), the force of their filmmaking remains astoundingly immersive.

Three criminals steal a massive amount of gold and hide out at an old castle with the sinister Madame Luce. A woman, having kidnapped her son during a nasty divorce, escapes to the castle as well. Cops poke around their sanctuary, kicking off a deadly shootout between them,...

The last few weeks have felt like an endless marathon for this writer, trying to keep up with a myriad of cinematic delights, including this latest batch of films I saw while at the 2017 Fantastic Fest last month. Read on for my thoughts on this trio of amazing indie movies, including first-time feature filmmaker Coralie Fargeat’s Revenge, My Friend Dahmer from Marc Meyer, and Let the Corpses Tan by Hélène Cattet and Bruno Forzani.

Revenge: It’s no secret that the decision to attend Fantastic Fest this year came with some controversy attached to it, especially in regards to the issues of sexual assault and the way women can be, and have been, treated by society. And for Fargeat, she embraced this controversy with her bold decision to still screen her film Revenge in Austin, and I have to say, I am So glad she did. In what...

For my money, Hélène Cattet and Bruno Forzani are two of the best genre directors working today. Their two feature-length gialli, Amer (2009) and The Strange Color of Your Body’s Tears (2014) are among the greatest "throwback" films of all-time, taking the vocabulary and iconography of the giallo and twisting it into something new and exciting, all while playing with the cinematic form with a barrage of close-ups, split screens, and Chris Marker-esque jump-cut slideshows. The only downside is that, as of the time of this writing, only the aforementioned gialli are available for viewing, while their latest film, Let the Corpses Tan, won’t be released stateside until this summer. So what’s a fan of hyper-stylized neo-gialli to do? Why, turn to their shorts, of course!

Like many filmmakers, Cattet and Forzani honed the aesthetic they’d use in their later films through their early shorts. Unlike all filmmakers,...

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,...

February is known as Women in Horror Month, when the spotlight is put on female filmmakers working inside our favorite genre, and many horror sites run pieces about movies directed by women. And that’s great! But there’s no reason why that spotlight should be limited to only one month, particularly when there are so many brilliant and talented female filmmakers working in the genre. Why not use this October to hit up these titles on Shudder and get to know some of the most exciting female voices in horror right now?

Prevenge (2016, dir. Alice Lowe) Alice Lowe writes, directs, and stars in this darkly comic, twisted fantasy about a woman who is very, very pregnant (Lowe herself was pregnant during shooting) and goes on a killing spree when her unborn baby talks to her and tells her to take revenge for a past tragedy. The film never fully transcends its gimmick,...

Writing-directing team Hélèn Cattet and Bruno Forzani burst onto the genre film scene in 2009 with the highly original Amer, a giallo-inspired experimental horror/thriller about different ages of one girl's life. Their second feature, The Strange Color of Your Body's Tears, went even further into mystery and strangeness in a more obscure story. Their third feature, Let the Corpses Tan, is something of an experiment for Cattet and Forzani, in that it comes from an original novel by Jean-Patrick Manchette. The result of the pair's high style with a complicated story, while (as always) beautiful to see and hear, is not entirely successful. On the gorgeous Italian coast, a criminal trio headed by Rhino has staged a dramatic robbery of an armed vehicle, killing four...

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While some filmmakers are branded as putting style above substance, for directing duo Helene Cattet and Bruno Forzani (“Amer,” “The Strange Color Of Your Body’s Tears”) style is the substance. Strain as hard you might, you won’t find any subversive subtext or deep thematic texture in “Let The Corpses Tan,” and anything resembling poetry doesn’t go much further than the title.

Continue reading ‘Let The Corpses Tan’: Bold, Surreal, Bombastic Blast From ‘Strange Color Of Your Body’s Tears’ Team [Tiff Review] at The Playlist.

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 […]...

It’s been a weekend full of reviews from the Toronto International Film Festival, and along with the premieres, it means producers or (if the film is lucky enough) distributors releasing the first look at footage in an attempt to drum up interest and stand out of the pack of hundreds of others at the festival. Well, it seems to have done the trick as we’re posting a round-up today.

First up, we have the first trailer for Let the Corpses Tan, the latest film from Hélène Cattet and Bruno Forzani, the duo behind Amer and The Strange Colour of Your Body’s Tears. We reviewed it here, and the preview displays some of the visual inventiveness at play. Along with that, there are previews for three other anticipated projects, including the Netflix documentary One of Us, arriving on the platform on October, as well as a pair of...

The filmmaking duo Hélène Cattet and Bruno Forzani have gone about in some kind of relative obscurity since their first feature Amer in 2009. While that striking debut perhaps should’ve garnered them more attention, as well as the subsequent The Strange Colour of Your Body’s Tears, it feels safe to say they’re not out to get that crossover hit. If anything, they seem content kind of just doing the same thing over and over again.

To those not in the know, their whole deal is doing riffs on genre that cut out virtually all the connective tissue, leaving simply a procession of visual tropes. In the case of Let the Corpses Tan, there’s closeups on squinted eyes and gun barrels, aggressive whip pans and overbearing Morricone-esque music cues. Some will say they’re filmmakers made for those who find most Italian exploitation movies boring for the...

Having plunged as deep as their knives could go into the long-dead corpse of the giallo genre in Amer and The Strange Color of Your Body’s Tears, Hélène Cattet and Bruno Forzani now forge a kind of hybrid of the spaghetti Westerns and Italian crime films of the late ’60s, stripping out nearly all story and keeping the sublime transfixion on material iconography and brute behaviour. Adapted from Jean-Patrick Manchette’s lean debut novel from 1971 (co-written by Jean-Pierre Bastid, who, like Manchette, was also immersed in genre cinema), Let the Corpses Tan opens with target practice shooting up neo-expressionist paintings, introducing the two groups (artists and gangsters) hiding atop a Corsican redoubt. After a whip-fast gold heist along the coast (executed by Cattet and Forzani with a fiercely staccato musical precision) attracts the local police, the mixed-class gang holes up in the sun-baked ruins to fight first against the law and,...

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...]...

Stylish swagger goes full-tilt boogie in Let the Corpses Tan (Laissez bronzer les cadavres), the latest delirious exercise in lovingly retro pastiche from Brussels-based writer-directors Helene Cattet and Bruno Forzani. Having amassed a devoted cult following with luridly horror-flavored Amer (2009) and The Strange Color of Your Body's Tears (2013), the duo now adapt an influential 1971 French novel. The result is a spectacularly assaultive, borderline incoherent neo-Western that will recruit few new converts but is also guaranteed to leave no spectator indifferent. Bowing on Locarno's Piazza Grande, it's a must for festivals specializing in outre fare — midnight slots appeal —...

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 shared their first art poster for Let the Corpses Tan (Laissez bronzer les cadavres!), courtesy of Bac Films, Anonymes Films and Tobina Film. Adapted from Jean-Patrick Manchette and Jean-Pierre Bastid’s 1971 crime thriller, Let […]...

Adapted from Jean-Patrick Manchette and Jean-Pierre Bastid’s 1971 crime thriller, Let the Corpses Tan (Laissez Bronzer Les Cadavres) is the third feature from filmmaking duo Hélène Cattet and Bruno Forzani, who previously brought us Amer and The Strange Color of… Continue Reading →

The post Let the Corpses Tan Receives Stunning Poster appeared first on Dread Central.

This. This is a terrific poster.    Bruno Forzani and Helene Cattet - the duo behind Amer and The Strange Color Of Your Body's Tears - have a new film coming out Laissez Bronzer Les Cadavres/Let The Corpses Tan. We may have talked about it. A bit. Their take on the western genre will have its world premiere next month and this amazing poster was just released in time for that.    There is the seductive figure with the smoking gun and the, er, placement of the sun flare. The gloved hand, reaching for mercy or in defense, out of splatters of gold, are they? And the crosses, hazy in the background, markers for the dead.   Golly we love this poster! 

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Stars: Andrew Harwood, Lucy Drive, Désirée Giorgetti, David White, Eleonora Marianelli | Written by Lorenzo Paviano, Raffaele Picchio | Directed by Luca Boni, Marco Ristori

John (Andrew Harwood) and his wife Kate (Lucy Drive) seem to have it all. They have just moved in to a beautiful house in the Italian countryside (it definitely looks Italian at least.), they are making waves with their photography and painting and to top it off, they are planning for a baby. However, there seems to trouble in their rural paradise and I don’t just mean Kate’s rather dishy, yet invasive friend Corinne (Désirée Giorgetti). You see, there may be something sinister going on in the house potentially involving its previous tenants. Maybe it’s just John and Kate going stir-crazy? Maybe the suspiciously British local priest (David White) has some answers for the couple?

Ok. One thing that really stands out about House of Evil...

Bruno Forzani and Helene Cattet - the duo behind Amer and The Strange Color Of Your Body's Tears - turn their sights from giallo to the western with their upcoming third feature, Let The Corpses Tan (Laissez Bronzer Les Cadavres). And while th genre may have shifted it would appear that the time period and general style that they tend to draw upon very much has not. The Mediterranean summer: blue sea, blazing sun….and 250 kg of gold stolen by Rhino and his gang! They had found the perfect hideout: an abandoned and remote hamlet now taken over by a woman artist in search for inspiration. Unfortunately surprise guests and two cops compromise their plan: the heavenly place where wild happenings and orgies used to...

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

Fans of Bruno Forzani and Helene Cattet rejoice! We've been waiting for the latest from the Belgian duo behind dazzling neo-giallo pictures Amer and The Strange Color Of Your Body's Tears for some time now and the first teaser for their upcomign western Let The Corpses Tan (Laissez Bronzer Les Cadavres) has arrived and it is clearly, unmistakably theirs. The Mediterranean summer: blue sea, blazing sun….and 250 kg of gold stolen by Rhino and his gang! They had found the perfect hideout: an abandoned and remote hamlet now taken over by a woman artist in search for inspiration. Unfortunately surprise guests and two cops compromise their plan: the heavenly place where wild happenings and orgies used to take place turns into a gruesome battlefield….Relentless and...

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Anna Biller captures the colours, style and mores of the lurid 70s in this near-perfect pastiche

Stiletto-sharp and as precise as a stocking seam, Anna Biller’s terrific homage to campy 1960s and 70s sexploitation horror movies is a riot of synthetic hair and vampy overacting. Biller, who designed the costumes and sets as well as writing, directing, editing and producing, has immersed herself in the Beyond the Valley of the Dolls-meets-Hammer psychological-shocker aesthetic. Hers is a witty and playful approach, but as with her 2007 film Viva – a lascivious, early 70s B-movie take on the sexual revolution – Biller lovingly recreates the film-making of the era with a fan’s obsession to detail. As such, it reminded me of Hélène Cattet and Bruno Forzani’s giallo pastiche, Amer: both pictures are deliciously lurid but wholly serious in their appreciation of the genre they evoke.

Biller cites George Romero’s...

Close-Up is a column that spotlights films now playing on Mubi. Hélène Cattet & Bruno Forzani's The Strange Colour of Your Body's Tears (2013) is showing February 4 - March 6 and Dario Argento's Deep Red (1975) is showing February 5 - March 7, 2017 in the United Kingdom in the double feature Giallo/Meta Giallo.“I know it when I see it.” Like film noir, the giallo is one of those genres as easy to pin down as it is difficult to define. More often than not, what constitutes a giallo rests on a given film’s balance of emblematic imagery and an archetypal storyline, while other factors like tone, score, and setting will also play a part in its classification. Arguably no filmmaker has had a more stylish and deftly rigorous hand in establishing these defining traits than Dario Argento. And his 1975 film, Deep Red (Profondo Rosso), is perhaps as good as it gets,...

Fans of Amer and The Strange Color Of Your Body's Tears have been anxiously awaiting the arrival of Bruno Forzani and Helene Cattet's third feature - the fabulously titled western Laissez Bronzer Les Cadavres (Let The Corpses Tan) - and with production now wrapped we should expect to see the PR machine starting to kick into gear. The Mediterranean summer: blue sea, blazing sun….and 250 kg of gold stolen by Rhino and his gang! They had found the perfect hideout: an abandoned and remote hamlet now taken over by a woman artist in search for inspiration. Unfortunately surprise guests and two cops compromise their plan: the heavenly place where wild happenings and orgies used to take place turns into a gruesome battlefield….Relentless and mindblowing. Elina...

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Fans of Belgian directing duo Bruno Forzani and Helene Cattet rejoice! The Amer and Strange Colour Of Your Body's Tears directors have wrapped production on their upcoming third feature Let The Corpses Tan (Laissez Bronzer Les Cadavres) and the first image has arrived online! After a pair of giallo influenced efforts this adaptation of Jean-Patrick Manchette and Jean-Pierre Bastid's cult novel veers into western territory, telling the tale of a group of thieves hiding out in remote territory following a gold heist. As you can tell from the image, things don't go so well. We will, of course, be watching closely for more on this one so expect more news in weeks to come! Check out the image below and remember you can click to...

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Exclusive: Bac releases first image of third feature from cult genre film directors.

Bac Films International has picked up sales on French genre writer-director duo Hélène Cattet and Bruno Forzani’s upcoming feature.

Let The Corpses Tan is the third feature from the Brussels-based couple after their cult ‘giallo’-inspired hits The Strange Color Of Your Body’s Tears and Amer.

The new work is adapted from the debut novel of late 1970s French crime writer Jean-Patrick Manchette, Laissez Bronzer les Cadavres, which Manchette co-wrote with screenwriter Jean-Pierre Bastid.

Set against the blue seas and blazing sun of a perfect Mediterranean summer, the film revolves around Rhino and his gang of professional thieves.

They think they have found the perfect place to hide out and stash a haul of gold in a remote hamlet controlled by a female artist who moved there for inspiration.

But the arrival of surprise guests and two police officers compromise their plan. The...

Tuesday, July 5th is looking to be a busy start to another month of horror and sci-fi home entertainment releases as there seems to be something for everyone coming to Blu-ray and DVD this week. Arrow Video has given Mario Bava’s Giallo classic Blood and Black Lace the royal treatment with their new two-disc special edition release and for those of you in the mood for an anthology film, Holidays is making its way to DVD on Tuesday.

Other notable titles arriving on July 5th include The Pack, the Cabin Fever remake, The Levenger Tapes, Circle and two different editions of Parasyte – Maxim: Collection 2.

Blood and Black Lace: Two-Disc Special Edition (Arrow Video, Blu/DVD)

Six Models. Six Victims For A Crazed Masked Killer. The Cristian Haute Couture fashion house is a home to models... and backstabbing... and blackmail... and drug deals... and Murder.

Having established a template...

Arrow Video announced an early July Us release of Blood and Black Lace (1964) on Blu-ray and DVD as well as a limited edition Steelbook. Directed by Mario Bava, the Blood and Black Lace Blu-ray / DVD is packed with features including, but not limited to, a 2K restoration of the original film and a new documentary exploring the giallo genre.

From Arrow Video: “New Us Title: Blood and Black Lace (Arrow Video) Dual-Format Blu-ray and DVD and Blu-ray SteelBook editions.

A Bava classic heading to U.S. shores!

Pre-order the SteelBook here: http://amzn.to/1qy2O9k

Pre-order the Blu-ray here: http://amzn.to/1qy2SpA

U.S. Release Date: 4th July 2016

Region: A+B / 1+2

Six Models. Six Victims For A Crazed Masked Killer.

The Cristian Haute Couture fashion house is a home to models… and backstabbing… and blackmail… and drug deals… and Murder.

Having established a template for...

Laissez Bronzer Les Cadavres

Director: Bruno Forzani & Helene Cattet

Writers: Bruno Forzani & Helene Cattet

Last year, we had included this new project from ‘neo-giallists’ Bruno Forzani & Helene Cattet, the Belgian duo behind such loving fetish genre items such as Amer (2009) and The Strange Color of Your Body’s Tears (2013). They’re working on a film noir project, an adaptation of author Jean-Patrick Manchette’s 1971 novel, Laissez Bronzer Les Cadavres (translated as Let the Bodies Sunbathe). In early October this year, the duo received financial support from Wallimage, but there hasn’t been an update on the project since. Their last feature unexpectedly popped up in the Locarno line-up in 2013, so we’re choosing to assume they’re somewhere along in the process. However, it seems as if we can expect the film to be re-titled following the Wallimage announcement, where the project was simply listed as a film noir approached from a fetishist angle.

Evolution

Written by Lucile Hadzihalilovic and Alanté Kavaïté

Directed by Lucile Hadzihalilovic

France, 2014

It is difficult to discuss Evolution without giving away a lot of its surprises. Needless-to-say, Lucile Hadzihalilovic’s masterful film (only her second in a decade) is disturbing, beautiful and restrained. Mysterious from beginning to end, the film challenges and intrigues, reaching down inside to grab hold of something within us all that is ancient and primordial, engaging on a level that exists within not only a collective imagination but our collective biology. As the tide of revelation comes in, new details are revealed, yet when it recedes it takes something else with it. So the audience is left to keep afloat in a cloudy brine of opaque truths making for a claustrophobic experience with no easy way out.

On a strange island, Nicolas (Max Brebant) lives with a group of other young boys overseen by a watchful group of androgynous women.