Behind the Couch

Anyone familiar with the irresistibly beautiful, yet devastatingly violent Italian giallo films of the Seventies – made popular by Mario Bava, Dario Argento and Sergio Martino – will no doubt have wept tears of joy while watching Hélène Cattet and Bruno Forzani’s breathlessly sensual Amer . Many of the now iconic motifs, visual codes and stylistic traits from the vivid archives of the giallo were present and correct throughout Amer ; a virtually dialogue free film revolving around concepts of obsession, sexual desire, psychological trauma and murder… Following on from their contribution to The ABCs of Death - O is for Orgasm – the duo are currently making their sophomore feature, tantalisingly titled The Strange Colour Of Your Body's Tears ( L'Etrange Couleur Des Larmes De Ton Corps ). They have released a teasing synopsis, describing the film thus: The Strange Colour is the story of a man who investigates the weird conditions of his wife's disappearance. It's ...

1970 Dir. Jess Franco 17th Century England is in the grip of Satanic Panic, and amongst those seeking to rid the land of traitors to the throne and anyone 'in league with the devil’, is Judge George Jeffreys, whose unreasonable sentences and excessively violent tortures are dished out with puritanical abandon. He soon becomes obsessed with Mary, a young women whose sister he accused of witchcraft and whose lover is a rebel against King James II. When the rebels are defeated, Mary tries to save her beau by surrendering herself to the Judge’s cruel lust. Betrayal, bloody torture and murder ensue. Believe it or not, The Bloody Judge marks the first time I’ve reviewed a Jess Franco film for this blog. Despite his insanely prolific career - spanning decades and genres alike - this humble scribbler has seen but a mere scrap of Franco’s films, which, not including my recent indulgence in The Bloody Judge , includes his kitsch classic Vampyros Lesbos and his more recent not so...

2012 Dir. Ryan Haysom Italian giallo films, made popular by the likes of Dario Argento, Mario Bava and Sergio Martino, are renowned for their brutal violence, dazzling style and convoluted ‘whodunit’ narratives. Immensely popular in Italy throughout the late Sixties and early Seventies, they eventually fizzled out of fashion. Throughout the past couple of years however they have appeared to make something of a comeback; specifically in terms of their influence on a new generation of filmmakers. Recent films such as Hélène Cattet and Bruno Forzani’s Amer , Peter Strickland's Berberian Sound Studio , Guillem Morales’ Julia’s Eyes and Federico Zampaglione’s Tulpa , highlight the impact the giallo has had on contemporary horror cinema, with its combination of exploitative violence and art house aesthetics. Another notable title to proudly wear its giallo influences on its blood-spattered sleeve is the short film, Yellow (directed by Ryan Haysom and produced by Catherine Morawit...

2011 Dir. Guillem Morales Julia (Belén Rueda) and her twin sister suffer from a degenerative disease that will eventually leave them blind. When her sister's body is found hanged in the family basement, everyone but Julia assumes that she died by suicide. As she begins her tender-footed investigation to determine the true cause of her sister's death, Julia is sure that she is being watched, but she cannot see her observer. Is it a distorted result of her failing eyesight or is she only imagining things? Or could it be that the man she believes is watching her every move is invisible? Increasingly isolated after an operation – a last ditch attempt to save her sight - Julia’s nerves are fraught and her psyche seems to be completely unravelling. Is it merely her imagination getting the better of her, or is her sister’s mysterious killer now toying with her too? Julia’s Eyes is a dark and engrossing thriller that initially looks set to unravel as a vaguely supernatural spo...

A young man (Grzegorz Golaszewski) has moody visions/flashbacks to a series of increasingly macabre and downright bizarre incidents that may be his interpretation of a love affair gone wrong. Adopting the role of Charon-like driver, he chauffeurs another man to some sort of private club where people sit around immaculately laid tables and seemingly indulge their dark fantasies. A young woman (Marta Szumiel) reappears fleetingly throughout his visions and the introduction of a mysterious Dictaphone seems to threaten him with truths he’d rather not hear… Meanwhile, people stare pensively and longingly at one another and writer/director Grzegorz Cisiecki, who hails from Minsk, Belarus, rummages through themes and concepts such as paranoia, desire and longing with myriad beautiful images that waft about each other like some spectral puzzle slotting into place. Are these dreams? Cryptically significant moments blurred by the skewed logic of memory? A languid cacophony of striking ima...

2009 Dirs. Yannick Dahan and Bejamin Rocher When a high-ranking police detective is found murdered by a gang of homicidal mobsters, a small group of his closest colleagues on the force take it upon themselves to avenge his death. Heavily armed and determined to see justice done, they manage to infiltrate the upper floors of the suburban high-rise apartment block that serves as the criminals’ hideout. But during the raid things go wrong and the cops find themselves overcome by the gang, who take them prisoner and begin to torture them.   Meanwhile, on ground level, the gang members become aware of a strange disturbance in the streets immediately surrounding the building, with the sounds of explosions and sirens filling the air. Incredibly, it becomes apparent that the commotion is being caused by ever-growing crowds of crazed people with a hunger for human flesh. It’s not long before the gang of criminals and the captive cops realize they are trapped together on the top fl...

1978 Dir. Joe D’Amato A team of geologists attempt to remove an indigenous, allegedly cannibalistic population from their island home in order to set up a power station and perform atomic research. The islanders' leader has other plans though, and she sets about disposing of the the pesky geologists one by one, utilising the art of seduction to aid her quest. Papaya (Melissa) is just your average voodoo priestess, eco-activist and blood crazed cannibal, willing to do whatever it takes to keep her tropical island home from being exploited by nuclear scientists hell-bent on building a nuclear reactor on it. And if that means stripping off her clothes every five minutes and seducing them one by one, then killing them by castrating them - so be it!  The film opens with Papaya emerging from the sea, strutting across the beach, entering a palm-hut, smearing fruit over a man before biting off his penis and watching as her henchmen (who look like they’d be equally at home on the ...

Amer ('Bitter') has been causing quite a stir on the festival circuit of late. Filmmakers Hélène Cattet and Bruno Forzani have concocted a heady and mesmerizing brew that harks back to the dazzling and uber-stylised Italian gialli of the Seventies. Forzani and Cattet have set about recreating all the familiar motifs, visual codes, stylistic traits and clichés from the blood drenched and lurid archives of the giallo film. Classic gialli such as Deep Red, The Bird with the Crystal Plumage, Lizard in a Woman’s Skin , Your Vice is a Locked Room and Only I Have the Key and All the Colours of the Dark are paid tribute to in a virtually dialogue free story revolving around the concepts of obsession, sexuality, trauma and death. All this unfolds in a visual feast backed by pieces from classic giallo scores to create a stunning and haunting mood-piece that will sear itself onto your retina and into your nightmares long after its provocative array of images have finished strutting ac...

1979 Dir. Werner Herzog AKA Nosferatu the Vampyre Estate agent Jonathan Harker (Bruno Ganz) leaves his hometown of Wismar and travels to Transylvania to complete a property sale for Count Dracula (Klaus Kinski). When Dracula sees a photo of Jonathan’s wife Lucy (Isabelle Adjani) he is captivated and determines to find her. Drinking Jonathan’s blood and locking him in the castle, the Count departs for Wismar, bringing with him plague-infected rats. As the inhabitants of Wismar fall victim to the plague and to the Count’s thirst for blood, Lucy realises she must take matters into her own hands to save her soul and that of her traumatised husband… Werner’s Nosferatu is a respectful and masterful remake/homage to F.W. Murnau’s Nosferatu, eine Symphonie des Grauens . Murnau couldn’t obtain permission to adapt Bram Stoker’s seminal novel Dracula , so he went ahead and crafted his film anyway – altering it slightly so as to avoid prosecution. A law suit was still filed by Florence Bal...

1972 Dir. Mario Bava Headstrong student Peter Kleist (Antonio Cantafora) travels to his ancestral home Castle Kreuzenstein in Austria to take a break from his studies. Peter has become obsessed with Baron Otton von Kleist, a distant relative whom the locals nicknamed Baron Blood due to his masochistic and murderous tendencies. Our foolhardy student sets about resurrecting his ancestor by reciting an incantation on an ancient scroll and before long the Baron is up to his old tricks, wrecking bloody havoc and slaughtering anyone who stands in his way… Can Peter and art restoration expert Eva (Elke Sommer) put a stop to his murderous rampage before its too late? Baron Blood was filmed after Bava’s stylish and grisly slasher opus Bay of Blood and was one of the director’s last films. It delivers what one might expect of a Bava film (or perhaps any Italian horror film) from this period – stylish camerawork, uneven pacing, evocative score, light plotting and dazzling atmospherics. Wh...

2009 Dir. Pascal Laugier Anna (Morjana Alaoui) and Lucie (Mylène Jampanoï), two young women with revenge on their minds, track down a family who held one of them captive as a youngster. Their quest for vengeance and knowledge leads them on a gut-wrenching and depraved journey into the dark recesses of pain and suffering, anguish and torture. Brutal. Shocking. Intense. Provocative. Raw. Unflinching. Disturbing. Numbing. Powerful. Unforgettable. These are just a few of the words that have been used to describe the jaw dropping spectacle that is Martyrs . The thing is though, while they are all accurate, no words can really be utilised to fully prepare you for the visceral onslaught you will undergo while watching this breathtakingly extreme film. With its astoundingly sadistic violence, Laugier's film is part of the current wave of extreme horror coming out of France, and firmly rooted in the realms of ‘Torture Porn’. Directed with ferocity, it strives to provoke and stimu...

1967 Dir. Roman Polanski AKA Dance of the Vampires The Fearless Vampire Killers… Or, Pardon Me, But Your Teeth Are in My Neck Polanski’s pastiche of Hammer Horror opens in familiar fashion: two eccentric ‘outsiders’ seek refuge at an inn inhabited by superstitious locals and an abundance of garlic bulbs hanging everywhere. The mere suggestion that these two inept gentlemen are searching for the castle of famed fiend Herbert Von Krolock is enough to frighten the simple townsfolk. The sort of madcap shenanigans that ensue set the tone for a film that, while largely a comedy, still manages to muster a sharp bite (sorry) and a dark edge. Polanski plays Alfred, the loyal yet bumbling assistant to vampire killer extraordinaire Professor Abronsius (Jack McGowern). Abronsius claims his ineptitude and incompetence is actually a wily foil to conceal his status as a legendary vampire hunter, tracking and destroying the Un-Dead. He's fooling no one. The duo are the Laurel and Har...