There's good news and bad for fans of
(2009), Hélène Cattet and Bruno Forzani’s hallucinatory art-horror debut.
The good: this super-strength second helping features even more bodily tears and even stranger colours. The bad: it’s even more indulgent.
The plot sees Klaus Tange’s Dan searching for his wife in a Brussels apartment building beset by stabby, psychosexual intrigue. Though gorgeously shot and soundtracked, the fetishisation of sensation over sense gets frustrating, fast.
The result is a love letter to the giallo genre spelled out in cut-up ransom-note writing – striking, but impossible to read.