![]() ![]() Focusing on her allowed us to change the art and performance of how violence will be depicted, if you will. Still we made a few drastic changes: the main character Luce - who is played by Elina Löwensohn - actually is a secondary character in the book. When we started to work on the script, we found a lot of little doors to enter, behind which we could unfold our own universe - without losing the necessity of being faithful to the book. There were much more characters than in any of our previous films, but I came to the conclusion that if you’d do it right, it still can feel intimate and original even though it’s a classic crime story. The story reminded us a little bit of some legendary spaghetti westerns, and that was an angle we’d love to explore further. I didn’t really believe in it in the beginning. (laughs) Or maybe it was because there actually was a clear, straight-forward narrative. still I had second thoughts about doing it, since the narrative is so very different from our previous films. So I read it as well and really liked it a lot. For her it was very clear that if we ever do an adaptation and not realize one of our own scripts, it will be this one. Hélène read the book in 2005 already and she immediately loved it. I haven’t read the book, but I can imagine that what you did feels much more like an interpretation than an actual adaptation, right? (laughs) and admittedly this pitch didn’t necessarily make it any easier to get it financed in the beginning, regardless of our references. When we met potential producers we sold it like a kind of heist movie where the violence becomes a kind of artistic performance. Also, “Let The Corpses Tan“ is based on a book, which was written by Jean-Pierre Bastid - an author who’s pretty well known in France. ![]() Therefore it wasn’t too hard to finance this one - because we already proved that there is a niche market for this kind of cinema. The same with “The Strange Colour of Your Body’s Tears“, it offered an aesthetic that’s very far removed from mainstream cinema, but somehow it got distributed worldwide as well. In a way we want to add to this precious period with our films.īut we were also a bit lucky: “Amer“ became an unexpected success - on small terms, of course. This period of cinema unfortunately soon came to an end. And they were even commercially successful. true artists that proved that there are no more boundaries of what you can do or not do in cinema. You had all these fantastic directors with unique visions like Gaspar Noé, Catherine Breillat or Lars von Trier. all of a sudden it seemed to turn into a playground with very promising possibilities again. In the early 2000s it felt as if a drastic change within the movie industry was happening. still it’s almost something close to a miracle that it’s still possible to realize a movie like “Laissez Bronzer Les Cadavres“, don’t you think? Who would’ve thought that it’s still possible in 2018 to conceive the act of filmmaking as a vehicle for cinematic inventiveness and great artistry informed by the last forty years of pop culture? Lodown hooked up with Monsieur Forzani during a mild Berlin winter in mid January.īruno, you and Hélène obviously are no rookies to filmmaking and its connected industry anymore. What essentially sells itself as a weird mix of spaghetti western and hardboiled early 70s European crime thriller on paper, manifests itself as a symphony of rapid-fire montages, sound, music, symbolism and delirious imagery that’s jumping off the screen in order to assault its audience on every sensual level imaginable. “Laissez Bronzer Les Cadavres/Let The Corpses Tan“ didn’t only receive the unofficial award for coolest film tittle in 2017 but proved that their craft is well on track to get fully accomplished with every new feature. Their debut “Amer“ - a fully-formed bow to Giallo - already introduced more than just an idea about the visually vocabulary Cattet and Forzani are capable of, and their follow-up “The Strange Colour Of Your Body’s Tears“, which revealed an almost Lynchian approach at nightmarish logic, seemed to confirm their unparalleled approach to filmmaking. The cinema of these two true auters is one based on sensory overload, elaborate mis en scène spectacles that dispense the need for accurate synopses as these would only fuel specific assumptions and expectations which would in turn get dismantled within a minute into the film. Being a movie buff doesn’t necessarily double the fun when watching the films of Brussels-based couple Hélène Cattet and Bruno Forzani, but keeping an open mind to the possibilities of what cinema is still capable of as soon as it is bold enough to live outside the margins of what people connect to genre film today certainly does. ![]()
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