• [The Daily] Locarno 2017: Cattet and Forzani’s Let the Corpses Tan

    By David Hudson


    “Stylish swagger goes full-tilt boogie in Let the Corpses Tan (Laissez bronzer les cadavres), the latest delirious exercise in lovingly retro pastiche from Brussels-based writer-directors Hélène Cattet and Bruno Forzani,” begins Neil Young in the Hollywood Reporter. “Having amassed a devoted cult following with luridly horror-flavored Amer (2009) and The Strange Color of Your Body's Tears (2013), the duo now adapt an influential 1971 French novel. The result is a spectacularly assaultive, borderline incoherent neo-Western that will recruit few new converts but is also guaranteed to leave no spectator indifferent.”

    Notebook editor Daniel Kasman: “Nearly without story—a criminal gang steals gold bullion and holes up in disheveled Corsican lair run by a ‘madwoman’ and also housing the gang’s lawyer and washed up novelist—the plot is mostly a choreography of gun battles with two motorcycle cops, the ensuing tactical maneuvers around the isolated hilltop compound, psychedelic flourishes and an uncountable amount of sensual close-ups of weapons, eyes, leather and gold.”

    “The poster art, the color grain and Scope filming all convey the impression of something that comes from the time of the spaghetti western or classic Italian giallo,” writes Screen’s Alan Hunter. “You almost expect to see Dario Argento or Mario Bavo’s name on the credits . . . The craftsmanship on display in Let The Corpses Tan is flawless.”

    “The filmmakers orchestrate an incredible sensory symphony,” writes Aurore Engelen at Cineuropa, adding that “both sound and images rain down, as if ricocheting off the white-hot stones under the Corsican sun. The soundtrack only exaggerates a fetish for leather, guns and engines. Classic scenes roll in, one after the other, with a particularly exquisite meal scene where the tone rises in crescendo between Elina Löwensohn and Bernie Bonvoisin. The casting is a reflection of our diverse galaxy,” and includes Marc Barbé, Hervé Sognes, Pierre Nisse, Stéphane Ferrara ,and Michelangelo Marchese.

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