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Categories: Film

Let the Corpses Tan

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If the words “Filmed in Techniscope” get you excited, then we can be friends, and Hélène Cattet and Bruno Forzani’s Let the Corpses Tan may be your bag. Shot on the two-perforation, 16-millimeter Techniscope, but still color-corrected to near Fury Road-levels, Corpses is an homage to 1970s Italian crime films — or, at least, what comes to mind when we think of that genre. But whereas the legendary incoherence of those films was often a result of translation issues, Let the Corpses Tan is intentionally insane, almost to a fault. The idyllic decadence of bohemian artists living in a Corsican villa is interrupted by a group of gold thieves with cops on their trail.

Other characters show up, but that’s already more than you need to know. The picture is extremely violent and sexual and hyper-stylized and determinedly nonsensical, even acknowledging that fact by providing timestamps that become increasingly irrelevant, eventually rewinding themselves before they’re dropped altogether. The picture is less about narrative than textures and bodily fluids and the magic of montage, and just to drive home the homage of it all, the score is heavy on Ennio Morricone, though not “The Ecstasy of Gold.” That absence of that number may be Let the Corpses Tan’s greatest perversion, and that’s saying a hell of a lot.

Not rated. Opens Friday at the Alamo Drafthouse New Mission.

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Sherilyn Connelly

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Sherilyn Connelly
Tags: Bruno Forzani Ennio Morricone foreign film Hélène Cattet Let the Corpses Tan

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