Amer (Hélène Cattet, Bruno Forzani, 2009)

What this film–a self-conscious nearly-silent tripartite-structured homage to giallo–captures best about the genre is its depiction of the intimate rendezvous between flesh and inanimate objects. While the film provides ample indicators of the horror-thriller (leather and lace choke skin, razor slices tissue), it also calls to mind the deep sensuality of things, as the young woman at its center has her knees brushed by salt, her teeth stroked by a those of a comb, her thighs embraced by a cotton dress, and her cheeks caressed by summer wind. In these meetings, in spite of being enveloped only by sound and image, we feel what the young woman feels; this is perhaps testament to this film’s belief in the loving relationship our own eyes have to lights dancing on a screen.

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