Of course, Jill is at the biggest party of the year and David has to go to win her back. The teen tropes are not done yet, though, because we also have David who just broke up with Jill. I’ll accept teenagers that totally trash a giant house with their partying (been there done that), but I have a harder time accepting “just throw more strippers at it” as a realistic option. Dude throwing said party has to keep upping himself with ridiculous party shenanigans, so the movie just gets more and more outlandish as it goes. A teen party movie that really overstayed its welcome with the partying. (I guess you could call David’s weird obsession with Jill kind of horrifying.) Instead, you pretty much get a typical teen party movie. ![]() There’s one shooting, one stabbing, and one knock-down, drag-out fight, no real horror imagery, and some sci-fi ideas. Simply try to experience it.There has recently been two movies about parallel universes interacting…is this a sign of parallel universes interacting?Īs you can tell from the movie poster, +1 isn’t exactly going for a “think piece.” Netflix billed it as a horror movie, but I’m not sure on that. If you do give it a try, resist the inclination to follow the plot. It certainly makes more sense that way, leaving only the richly textured cinematography. I suspect the real message of the film is that it has no meaning. If anything, music is utilized much too sparingly here, and ambiguity is rendered much too generously. The best parts are those with music accompanying them – selections from the scores of 1970s giallo films like Killer Nun and So Sweet … So Perverse. On the other hand, it feels more like a 102-minute music video. But slasher/arthouse commentary film itself as metaphor? Perhaps. What of the slashing deaths? They’re metaphors for the film editing process, cutting and cutting and leaving a mess on the floor. And there’s another tenant in the building with a darkroom. ![]() That would explain all the portals – the keyholes, holes in the walls, holes in the ceilings, hat box caverns, windows, peepholes, skull holes (rather vagina-shaped ones) – they’re all holes which admit light – they’re camera shutters! Apertures!ĭan deploys his half-full glass of scotch as a loupe to examine the details on some back-and-white photographs of his wife. Perhaps this isn’t the protagonist’s dream but rather the directors’ dreams. It winks at us, suggesting that there’s something flawed about the film itself. There’s a tiny glitch in the main character at about the 30-minute mark. Indeed, the opening shots show our protagonist Dan napping has he flies back from Frankfurt to Paris, suggesting that all which follows occurs behind his flitting eyelids in first class. So, what is the title referring to? Who knows? Certainly not yours truly.Īs a narrative, The Strange Colors of Your Body’s Tears is best described as a dazzling dream. Anyhow, the subjects of the title are neither tears nor blood – but their strange colors. Second: yes, eyes have tears, but tears are colorless. First: your Body’s Tears? Bodies don’t have tears bodies have blood and bile. The title of this French film is a reflection of its non sequitur content. Can a film missing a plot – but not flair – still scare? ![]() The Strange Colors of your Body’s Tears was co-written and co-directed by Hélène Cattet and Bruno Forzani ( Let the Corpses Tan and Amer) and stars Klaus Tange ( Tribes of Europa), Ursula Bedena (in her debut), and Jean-Michel Vovk ( Un honnête commerçant). It’s a neo-giallo homage about a man running around his apartment building after losing his wife.
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