|Director:||Hélène Cattet and Bruno Forzani|
|Writers:||Hélène Cattet and Bruno Forzani|
|Starring:||Cassandra Forêt, Charlotte Eugène Guibeaud and Marie Bos|
|The Plot: At the beginning of our film, Young Ana arrives with her family to their summer/winter home. As she settles in, she spots her mother berating the house maid through a keyhole. As the daughter snoops around, she overhears her mother speaking about the house maid as if she were a literal withc. When young Ana sneaks off into the house maid’s room, she finds an elderly man who has died, and she tries to pry a special necklace out of this dead man’s hands. Before long, she finds herself being strangled by the hands of the house maid, but luckily Ana manages to escape. When she stumbles upon her parents room, she discovers them in the midst of having sex, which then scars her for life. Not having the mental frame to absorb all of this at once, the young girl grows up with sexual infatuation that grows deeper and darker over time. We catch up with her at two more points in her life, and we see how her sexuality grows and transforms as she becomes an adult.|
The film delves even further into the bizarre than the Giallo films that it takes its inspiration from. Similar to Lucio Fulci’s Lizard in a Woman’s Skin or Giulio Questi’s Death Laid an Egg, Amer casually refers back and forth to a state of dream logic that defies linear storytelling. So, as the movie presses along it becomes harder to decipher what is actually happening in “real time” and what seems to be happening in this dream state that our lead character falls into. This basically leads into one of the biggest flaws of he film. The style over substance debate, which is prevalent in any review for Amer. While I have no questions that the directors have very deep and earnest things that they want to say with their film, there are times where it seems that this dedication to recreating the idealized version of the “giallo” seems to take precedence over telling a engaging narrative. While there were numerous highly stylized Italian films made during the seventies that one could look to for inspiration, there are none that come to my mind that are wholly dedicated to their style insofar as they were willing to sacrifice their pacing in order to create interesting visuals. That is precisely what Amer does, as unfortunate as that may be. There are numerous times throughout the course of the movie where the story may slow down to a snail’s pace in order for the camera to make a slow pan of a neat looking visual. Closeups are used in a nearly fetishistic manner, to the point where the film becomes difficult to understand due to the insane number of times characters are introduced only via their eyes. While these are interesting, and dare I say “cool,” ideas on behalf of the filmmaker, in reality they slow the film down to a highly boring pace where the images start to lose their meaning.