In the beautiful, otherworldly Carpathian Mountains a woman is traveling with a small boy in a horse and cart, looking to punish those who once abused her. For years, Katalin has been ... See full summary »
Amid the Civil War in 17th-century England, a group of deserters flee from battle through an overgrown field. Captured by an alchemist, the men are forced to help him search to find a hidden treasure that he believes is buried in the field.
Nearly a year after a botched job, a hitman takes a new assignment with the promise of a big payoff for three killings. What starts off as an easy task soon unravels, sending the killer into the heart of darkness.
Three key moments, all of them sensual, define Ana's life. Her carnal search sways between reality and colored fantasies becoming more and more oppressive. A black laced hand prevents her ... See full summary »
Charlotte Eugène Guibeaud,
In the 1980s, college student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret; they plan to use her in a satanic ritual.
At the very beginning of the film, Elena calls Francesco to announce Gilderoy's arrival at the studio. Although the film is set in Italy, when she picks up the phone a continuous dial tone is heard, which is normal for the US or UK; however, the actual dial tone would have sounded very differently in Italy, a country where the phone system has a very distinctive and non-continuous dial tone (consisting of a 425Hz tone with a duration of 0.6sec followed by a 1 second pause, followed by a 0.2 sec tone then a 0.2 sec pause, repeated in a loop until the first digit is dialed). See more »
The opening credits are actually put together of those from The Equestrian Vortex, the fictional horror flick that's going to be post-dubbed in the movie, with fast-cut animations, medieval depictions of hell, demons, naves, animal skeletons and tortured female faces, mostly red and black colored. See more »
Ingmar Bergman once admitted respect for two films of his contemporary, Michelangelo Antonioni, one of which being the metaphysical thriller Blow-Up. It's a film that drifts freely between reality, dram and imaginary states, showing the tenuousness of the concrete and the plausibility of the conceptual. Naturally, such a work would appeal to the creator of Persona where not only the consciousness but also the very identity of the protagonist is challenged - before the existence of the very film reel itself is called into question (there is a remarkable sequence that directly honours the Bergman's reel meltdown).
Peter Strickland's dream-sealed Berberian Sound Studio also twists the idea of consciousness and identity. Toby Jones wanders in - into the studio, although he's actually and more pertinently waling into focus - and is introduced to the film on which he will both engineer and create the sound. During the course of a deliberately shot film in which action and sound are all susceptible to manipulation we learn increasingly less about this character, Gilderoy, and the Latin company with their tripwire tempers with whom he must work and, increasingly emulate.
It's an intense 90 minutes. The narrative tubers are a little stubby to offer a coherent story at its close (like Blow-Up). I think the point is to create an internal resonance with the viewer rather than an object for discussion. Chris Dickens' editing is beautiful. 7/10
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