Dazzling French genre fiddling

Ejection of more skin and latex than a special trade with Times Square in the 1970s, Thinking in a dead diamond (Thinking in a dead diamond) is another crowd, Glammy, glazing the eyes of French directors Hélène Cattet and Bruno Forzani.

Indeed, both in the 70s and 60s are an era from which the avant-garde duo always mined its material, knocking in the surplus of Italian Giallo Horror Flicks, Z-Grad Spagets Westerners and other cult objects in their Arthouse re-rehošev, which include Let the corpses tan and The weird color of the tears of your body. The latest show of couple like the forgotten Franco-Italian James Bond Ripoff, who dropped too many linging of acid, and then dazed out with a hard r assessment for an abundance of sting, oblique and other types of distorted enthusiasm for human flesh.

A brave selection for the Berlinale competition and apparently more suitable for Midnight or Genre Fest, Cattet and Forzani’s program programs is definitely their most ambitious work so far. It is constantly jumping from the past to the present, from the excellent made set-in to Killing to Gory Killing, from the old film to the creation of a film to a kind of alternative disco realition, all the time, at the same time removing the cheesy international spy on a plot that is not very interesting to follow.

As for pure cinema crafts, directors and regular DP Manuel Dacosse have surpassed this time, creating many images outside the wall that are almost literally drilled into your retina. But this does not make this tax effort easier: Thinking in a dead diamond is less a movie than dozens of movies at once, and everyone is so much that they are worn with 90 minutes often feels ten times longer than that.

To summarize the story as simple as possible, John Dimon (Italian veteran Fabio Test, Star and Western Spaghetti and Classics like de Sica Garden Finzi-Continis) is a lonely 70-year-old who lives in a luxury hotel on Côte d’Azur. On the beach, she notices a beautiful woman-hung up close to her exposed nipples pierced with diamond columns-which causes memories of her glory days as a secret agent. When the woman disappears and eventually becomes dead, she tries to solve mystery as his past life is coming back to persecute him.

The above description is as clear as things will get for many viewers, who, if they have not seen a movie-formed movie before, quickly discover that concise storytelling is less important than bombing us with visual tricks and lovers of the film. These include the Spoofing title of franchise Bond Bond franchise, which turn here into cartoons where the younger Dimon (Yannick Renier) blows the brain of their enemies, and their vital fluids go into cascading gems.

The second crazy scene includes a leather assassin, known as a serpentic (played by the nguyen man and several other actresses), which destroys the gang of the villains in the casino, chopping them into pieces in the red and black sets that turns into a giant rullet-soaked wheel. This is followed by a scene in which the secret opera operas (Céline Camara), which wears a mirror dress filled with small shooting devices, has sex with a suava oil (Koen de Bouw) Baron. The man soaked the body and then used it to make expressionist images that decorate his sea villa.

All this happens in the first 10 or 15 minutes, and if you are not already exhausted, you have a considerable amount of patience. There are so many extravagant and extreme images here that your eyeball will want to explode – or it will be removed from the sockets and turn into decorated jewelry, which is a kind of what is happening at some point in the movie.

The problem is that there is no real sense Thinking in a dead diamondWhich is simply another vehicle that allows Cattet and Forzani to imitate their favorite Schlocky films, deconstruating them in the feat of the hyper-stylized abstraction. These features can be impressive in limited doses, but in feature length they accumulate in the beautiful tired of the fatigue of the film.

Kudos, however, is preparing for a couple who still leaves bravely where little director leaves, avoiding commercially or “elevated” genre creating a movie for something weird and perhaps deeply personal. In a purely experimental way, what Tarantino does in the main, taking Curios Flicks from the 1960s and 70s and turning them into Choppocky fables that are much more in China than reality. At a time when many think that movies are dying, their strange and wild creations provide a unique brand of life support.