Watching "Amer" at some point preferably sooner than later was more than just an option for me; it was practically a necessity. There aren't too many genre movies being made in my beloved home country of Belgium, so us fans have to encourage every single attempt. And "Amer" is, in fact, an even more impressive accomplishment for Belgium because this film is much more than just a genre movie on itself; it's a downright elegant and upper-class homage to the Italian genre film of the 1960's and 1970's! I met the writer/director's duo Hélène Cattet and Bruno Forzani at a mini film-festival in Brussels were they presented their film to fellow admirers of unusual cinema. They're a young and admirably modest couple who are clearly obsessed with gialli and the particular filming style of certain Italian directors like Mario Bava, Dario Argento Massimo Dallamano and others. Over a period of less than ten years the couple made a handful of short films, but they clearly just served as "exercises" for their ultimate masterwork entitled "Amer".
The script pays tribute to the giallo movie without actually being a genuine giallo. The movie doesn't feature any sadistic murders (except for one notably grisly moment near the climax) or explicit sex sequences (although a lot of sensuality) and the plot doesn't necessarily revolve on the manhunt for a deranged knife-wielding maniac. Instead, "Amer" pays its respects towards the stylistic trademarks and design of the giallo. The film is a non-stop smörgåsbord of cinematographic elegance (imaginative camera angles, specifically focused close-ups, POV shots ), experimental photography (delusional color schemes, intentionally rough editing ) and recognizable giallo soundtrack classics (with Stelvio Cipriani's theme song of "What have they done to our Daughters" as a mesmerizing highlight). There are hardly any dialogs in "Amer", and yet all your senses – particularly the hearing – will nevertheless be tantalized.
"Amer" slowly unfolds in three almost equally hypnotizing chapters, centered around three important key-moments in the life of a beautiful girl named Ana. The first chapter is about childhood fears. Ana lives in a ramshackle old house with her continuously arguing parents (her mother is a furious Italian wench) and her recently deceased grandfather in his bedroom. The creaking doors, the echoes inside the exaggeratedly large mansion and the constant peeking of voyeuristic eyes through the keyholes leave a vast impression on the young and petrified girl. In the second chapter, Ana has grown into an incredibly beautiful adolescent. Not a whole lot happens during this part of the film, as Ana and her mother simply walk across the little rural village and receive a giant number of envious looks from the townspeople, but it's definitely my personal favorite chapter. Thanks to the music and lewd photography, this part of the film is the most perfect homage to the Italian 70's. The second chapter of "Amer" might as well have been cut straight out of films like "In the Folds of the Flesh" or Dallamano's "Venus in Furs". It's guaranteed one of the sexiest pieces of film you'll ever see. The third and final chapter has the now adult Ana returning to her parental mansion, only to be confronted again with her childhood fears and imaginary pursuers. This chapter particularly plays as an ode to suspense and psychedelic trips. The three chapters glued together form a nearly impeccable wholesome, but of course you need to have some affection and feeling towards the era of the giallo. Watch it, if you can!
The script pays tribute to the giallo movie without actually being a genuine giallo. The movie doesn't feature any sadistic murders (except for one notably grisly moment near the climax) or explicit sex sequences (although a lot of sensuality) and the plot doesn't necessarily revolve on the manhunt for a deranged knife-wielding maniac. Instead, "Amer" pays its respects towards the stylistic trademarks and design of the giallo. The film is a non-stop smörgåsbord of cinematographic elegance (imaginative camera angles, specifically focused close-ups, POV shots ), experimental photography (delusional color schemes, intentionally rough editing ) and recognizable giallo soundtrack classics (with Stelvio Cipriani's theme song of "What have they done to our Daughters" as a mesmerizing highlight). There are hardly any dialogs in "Amer", and yet all your senses – particularly the hearing – will nevertheless be tantalized.
"Amer" slowly unfolds in three almost equally hypnotizing chapters, centered around three important key-moments in the life of a beautiful girl named Ana. The first chapter is about childhood fears. Ana lives in a ramshackle old house with her continuously arguing parents (her mother is a furious Italian wench) and her recently deceased grandfather in his bedroom. The creaking doors, the echoes inside the exaggeratedly large mansion and the constant peeking of voyeuristic eyes through the keyholes leave a vast impression on the young and petrified girl. In the second chapter, Ana has grown into an incredibly beautiful adolescent. Not a whole lot happens during this part of the film, as Ana and her mother simply walk across the little rural village and receive a giant number of envious looks from the townspeople, but it's definitely my personal favorite chapter. Thanks to the music and lewd photography, this part of the film is the most perfect homage to the Italian 70's. The second chapter of "Amer" might as well have been cut straight out of films like "In the Folds of the Flesh" or Dallamano's "Venus in Furs". It's guaranteed one of the sexiest pieces of film you'll ever see. The third and final chapter has the now adult Ana returning to her parental mansion, only to be confronted again with her childhood fears and imaginary pursuers. This chapter particularly plays as an ode to suspense and psychedelic trips. The three chapters glued together form a nearly impeccable wholesome, but of course you need to have some affection and feeling towards the era of the giallo. Watch it, if you can!