Average Rating: 6.9/10
Reviews Counted: 26
Fresh: 20 | Rotten: 6
No consensus yet.
Average Rating: 7.8/10
Critic Reviews: 5
Fresh: 4 | Rotten: 1
No consensus yet.
Average Rating: 3.2/5
User Ratings: 902
Searing memories and carnal desires rule the mind of Ana (Marie Bos), a young woman in thrall to her own fantasies in this French psychological thriller that blends eroticism with European slasher movie traditions and a haunted house on the Côte d'Azur. The film's enigmatic, intimate cinematography builds an atmosphere thick with the pall of evil, as Ana's visions and obsessions draw her toward deeper eroticism -- and deeper danger. -- (C) Olive Films
Oct 29, 2010 Limited
Jul 18, 2011
Olive Films - Official Site
Ana, Ana as an Adult
Ana as a Child
Ana as a Teenager
Bianca Maria D'Amato
Farmer, Man in Red Car
It's perhaps asking a bit much to read it as anything more than a claustrophobic portrait of sexual danger, but it still fulfils that highly specific brief with blood-splashed gusto.
A bravura exploration of fear and desire, a visual tour de force composed of cropped images, strobe cuts, bizarre psychological twists and a steamy sensuality.
The pleasures of this gorgeous, clever, and visceral film are almost exclusively aesthetic. Those unmoved or alienated by the porn of pain may be left flopping as nervelessly as one of the movie's severed limbs.
... those willing to immerse themselves in the film's own peculiar sensibility (never before has the connection between horror films and pornography been more obvious) will find it to be a rewarding, if also disturbing, experience.
This is art-house horror, a pure cinema for connoisseurs, a return to late-19th-century decadence.
It's beautifully made but feels more like an art installation than something you might savour in a cinema.
By turns disturbing, suspenseful, puzzling and terrifying, Amer is a stylishly directed, visually stunning pastiche of Italian genre cinema with a superb soundtrack and terrific performances from the three leads.
For all its gloss and panache and giddying crash zooms to the keyhole, Amer is finally little more than a prolonged tease of a movie; provocation without a purpose.
Generally, Amer's film language is akin to a glossy car advert in the style of giallo. At other times, the filmic experimentation is uncompromising, any meaning dissolves and only enigmatic imprints are left.
With its excitable score (assembled from old gialli), expressionist colour palette and invasive close-ups, it is heady, head-scratching fun.
Fans lamenting the decline of Italian fear maestro Dario Argento will be relieved to find his legacy in such talented hands.
Not for everyone, but fans of Dario Argento will find plenty to like about this otherworldly study of sex and sensuality.
Bruno Forzani and Hélène Cattet's baroque Belgian beauty pays homage to '70s Italian horror but brims with its own sexualised currents of threat and promise.
Near wordless, the film is a banquet of baroque imagery and kaleidoscopic colour.
Duplicates the style and hothouse psychosexual passions of its '70s predecessors with such self-consciousness that little unsettling emotion emerges.
[T]hey have re-created, in exaggerated form, the virtues and vices of '70s/'80s Italian giallos...
A woozy, deeply eroticized and entirely cinematic fever-dream, an homage to Italian giallo re-imagined as a sort of avant-garde, French rave trance film.
While Amer isn't for everyone, it's bound to be a sweet treat for those who swoon to style.
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