I love Giallo stuff and when there's a movie that pays tribute or respect to the genre, I'd give it a go. So with this one, seeing a really cool cover of the DVD and being French and all, hey off course :) I like the idea of a missing lover story and I really like the stylized detailed, closed up shots and sounds of many of the scenes. BUT I find it a bit much. I feel that with Giallo, being psychedelic doesn't mean,psychedelic shots of every scenes, this movie has an amazing / best art nouveau back drop that it self already gives a certain persona. I find my self looking the other way just every now and then to rest my eyes also press the ff button just because my brain is telling me " yes I got it, got the idea...next ". However I still recommend it to you, because it has a very good story and all this stuff I'm writing about is worth to look at. But for me.....a bit over done

Returning from a business trip to find his wife gone but their apartment locked from the inside, a middle aged man investigates matters himself when labeled as the prime suspect in this mystery thriller that is more offbeat than it sounds. The man's amateur sleuthing leads him to conversing with his some of his apartment complex neighbours for the first time, none of whom seem normal, and as the film progresses, it is revealed that apartment complex has labyrinthine hidden walls and passageways that may hold clues. Some have interpreted the film as metaphorical with the condominium representing a disturbed mind, but the film works fine as a straight mystery too. That said, it is deliberately paced and full of bizarre imagery, including kaleidoscopic shots and fancy edits galore. At times, the film feels showy, like a canvas for the filmmakers to experiment rather than tell a story, and some images (the girl giving out candy) seem utterly random. And yet, it is hard not to admire the finesse put into all the graphic (and non-graphic) match editing, like the protagonist drinking cut against a hypnotic wheel. There is also an amazing bit in which his face is spliced against a detective's in split screen, giving the initial appearance of one whole face. The film is quite an assault on the senses if nothing else - which seems only appropriate to reflect the stress and agony of a man searching for his wife while under police suspicion himself. The title, for what it's worth, seems to be a reference to gushing blood; what sort of blood in particular is only revealed at the end.

I appreciate that this movie is not for everyone, it is for demanding and conscious audience. It's very intense, not easy to watch and definitely a late night movie you need to focus on and really get into. Firstly, photography is absolutely gorgeous, a true work of art. Art direction, interiors and music too - all very consistent, artistic and different. It is the unpredictability of this movie that attracted me so much, and the fact that the story and plot are almost secondary. Full of visual and audio glitches, sudden turns and oddball characters, it shows characters' emotions in a very imaginative and surreal manner, rather than what we are used to - dialogue. In fact, there isn't much dialogue in the movie or it's almost meaningless. This movie breaks all of the rules and boundaries, while being a very well shot and edited, top quality work of art. Many of the art-house movie are just a waste of time - ofter made weird just for the sake of it, but lacking depth and quality. This movie is very very weird but perfect in every detail, bending rules but not breaking them. Many ambitious movies are grim, sad and exaggerate human tragedy and suffering, or contain way too much graphic violence, sex etc. This movie has it all but in a very elegant subtle manner, it is disturbing and difficult at times but didn't leave me with sad aftertaste of realism and suffering. It's a true visual and emotional trip into the darkness of human character and fantasies.

Barfing out references in place of a coherent screenplay, the directors of this kitsch turd appear to have been trying to have a good time copycatting Lynch, Argento and Phantom of the Paradise, while masturbating on Alfons Maria Mucha's art, more than trying to make it worth the spectator's while.The untalented and hideous actors, all lookalikes, and looking like the improbable offsprings of Klaus Kinski and Dominique Pinon, minus the talent, just show up on the screen doing various things that make absolutely no sense whatsoever, while atrocious camera-work, hard to bear colour schemes and an extremely unpleasant soundtrack attack the viewer in a most unpleasant way. No beauty, no poetry, if not for a couple of scenes that are nicely thought out, but that do not serve an actual cinematographic purpose in the film, more of an onanist visual act.More than leeching off other director's trails, it would be a good thing for the two directors to go to a screenplay class, during which I'm sure one of the topics to come up would be "how to keep the viewer interested". If they don't go to one soon, they could remain amateurs for the rest of their careers but at this point, I'm not sure they have much left to say anyways because they already had so little to begin with.Let's just hope that they will keep to short films: in the grind-house scene, their insufferable aesthetics would be praised if they keep it short, as in title sequences or collective movies.In short, the lesson here is that one does not aim at directing a "cult" movie, it's not a genre, it's the viewers who decide. "Cult" films were usually trying to be interesting or narrative before they were trying to be "cult" films, and that's something we'll hope the directors understand soon.