6.2/10
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Amer (2009)

Not Rated | | Horror, Thriller | 3 March 2010 (France)
As a young girl Ana was a rebellious child. She was also tormented by images of death and a shadowy, ominous figure in black. Now an adult, she is once again tormented by shadowy, other-worldly forms.
7 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
Cassandra Forêt Cassandra Forêt ... Ana enfant
Charlotte Eugène Guibeaud ... Ana adolescente (as Charlotte Eugène Guibbaud)
Marie Bos ... Ana adulte
Biancamaria D'Amato ... La mère (as Bianca Maria D'Amato)
Harry Cleven Harry Cleven ... Le taximan
Jean-Michel Vovk Jean-Michel Vovk ... Le père
Bernard Marbaix Bernard Marbaix ... La grand-père mort
Thomas Bonzani Thomas Bonzani ... Nono, l'adolescent
François Cognard François Cognard ... La silhouette
Delphine Brual Delphine Brual ... Graziella
Jean Secq Jean Secq ... L'épicier
Béatrice Butler Béatrice Butler ... L'épicière
Charles Forzani Charles Forzani ... L'agriculteur / L'homme à la voiture rouge
Benjamin Guyot Benjamin Guyot ... Éboueur
Yves Fostier Yves Fostier ... Ëboueur
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Storyline

Three key moments, all of them sensual, define Ana's life. Her carnal search sways between reality and colored fantasies becoming more and more oppressive. A black laced hand prevents her from screaming. The wind lifts her dress and caresses her thighs. A razor blade brushes her skin, where will this chaotic and carnivorous journey leave her? Written by Coach14

Plot Summary | Add Synopsis

Genres:

Horror | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

France | Belgium

Language:

French

Release Date:

3 March 2010 (France) See more »

Also Known As:

Amer See more »

Filming Locations:

Menton, Alpes-Maritimes, France See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

|

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Done in the style of 1970s Italian giallo, meaning "yellow", which stems from the origin of the genre as a series of cheap paperback novels with trademark yellow covers. See more »

Connections

References The Girl Who Knew Too Much (1963) See more »

Soundtracks

La polizia ha le mani legate
Written by Stelvio Cipriani
Published by Cinevox Records/Grandi Firme della Canzone
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User Reviews

 
An eroticized homage to "The Maestro Of The Macabre"
15 October 2011 | by melvelvit-1See all my reviews

The NY TIMES called AMER "an exercise in giallo (eroticized horror), a richly colorful mosaic of sinister sidelong glances" while the LA TIMES enthused, "a nightmare vision of desire and fear -gorgeous, heady, dazzling!" but these pointed paeans are only partly true. Except for the odd snippet, there's no dialog or musical score in the three vignettes depicting the life of a disturbed young woman (childhood, adolescence, adulthood) and although the last sequence contains elements of the giallo, the film is more of an homage to the indelible images of "maestro of the macabre" Mario Bava.

AMER's first segment on a child's reaction to her grandfather's death re-imagines the opening tale in Bava's trilogy I TRE VOLTE DELLA PAURA (aka BLACK SABBATH) from prying a valuable object out of a dead man's hand and the nightmare that follows right down to the dripping water and eerie blue, green, and red light that bathed the terrifying tableaux. The second segment on the girl's dangerous sexual awakening combines Bava's OPERAZIONE PAURA (aka KILL BABY KILL) and it's white soccer ball with the nebulous evil-under-the-sun aura of Tennesse Williams' SUDDENLY LAST SUMMER. The third and final scene that sees the young woman revisiting the abandoned villa where she grew up actually does reference BLOOD & BLACK LACE-style gialli with its black gloves, straight razor, and stalking sequence that leads up to a graphic murder. Unfortunately, there's only one (barely set piece) slaying in AMER and this dreamy collage of jump cuts, split screens, and undeniably beautiful imagery is less than the sum of its parts which may prove disappointing to hard-core horror fans. Cineastes -and those who enjoy avant-garde narrative as well as color-drenched kaleidoscopic visuals- should, however, get their money's worth. Hélène Cattet & Bruno Forzani's offbeat endeavor also reeks of Roman Polanski's REPULSION and I found the "eroticized" exercise admirable but more dull than anything else.


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