This movie is visually stimulating, and has a beautiful soundtrack. It's heavily based in paying tribute to the Giallo era, with the Sergio Martino/Edwige Fenech films and Dario Argento topping the list of sampled visual ideas, direction, and soundtracks. (Even the name is taken from Martino translations)It's not made for everyone, but for the people that it's aimed at, it couldn't be a more perfect breath of fresh air! I absolutely love this film. 10/10 for me.

The Strange Color of Your Body's Tears is a tribute to Italian Giallo slasher films of the 60s and 70s. The film begins with a man returning to his apartment after he has been away on business for two weeks, only to find that his wife is missing. The man then tries to find his wife. He searches through her stuff calls, the police, and visits a mysterious lady up on the seventh floor of his building. But things take a turn for the worse when he discovers something that has mysteriously appeared in his apartment. The film then becomes a disjointed serious of dream sequences and flashbacks that become increasingly hard to follow. The Strange Color of Your Body's Tears is second film by the Italian horror duo, Hélène Cattet and Bruno Frozani. And let me just say that these two know what they're doing, the film is very well crafted, the blocking and camera work in this is some of the freshest I've seen in any film from the past few years. The cinematography (shot by Manuel Dacosse) is fantastic. The film is vibrantly colorful, has flawless lighting, and does a great job of getting you up close and personal with the characters in the film. The sound design is also insanely good. There's little dialogue in the film, (we get most of the information about the characters through what we see.) but the void the absence of dialogue has made is filled with some of the most detailed and complex sound design I've heard in a horror film. But where The Strange Color of Your Body's Tears succeeds in style, it fails in story. With all of its jumping around, cryptic storytelling, and dream sequences it becomes nearly impossible to follow, (at least towards the end.) and thus the film fails to engage its audience. The story in itself wasn't that great to start with, and they never really add anything onto it, if anything they take away from where the story started by making it so confusing and to make it worse they don't do much to try and make you follow their film. Their are aspects of the story that are really good, (like the back story of the lady on the seventh floor.) but on a whole the story is alright at best, and a muddled mess at worst. While not bad a bad film, The Strange Color of Your Bodies Tears could have been much better than it actually was. Hélène Cattet and Bruno Frozani both definitely have talent, they just need to work on focusing in on a single theme or story, and making it coherent. If they are able to do these two things the film they make will almost definitely be a masterpiece. But for now I'm satisfied with The Strange Color of Your Bodies Tears.5.9

You can go back a hundred years to CABINET OF DR CALIGARI for proof that the horror genre has always flirted with the artistic. However, it seems to me that, in recent years, we're seeing more indie horror directors skirt the traditional narrative structures and offer up a slice of much more artistic horror. From LORDS OF SALEM to A FIELD IN ENGLAND and BERBERIAN SOUND STUDIO, the horror aficionado is seeing a wave of movies that are almost an antithesis to big budget pablum like THE PURGE. This love letter to the giallo genre may just push that limit a little too far, though, for most people's tastes. Let's be honest here. I'm a total horror geek. Amongst my "normal friends" I definitely have the strangest taste in cinema. I go to horror cons a few times a year and discuss horror films regularly online. Even in that horror community, my tastes run a little more avant garde than most. So, if this movie is a little too "artsy" for me, I'm not sure I know who the target audience is, though the fact that only 1100 have us have rated this probably speaks to that target audience not being very large.This is a gorgeous, entrancing movie that can really only be taken in small doses. It takes some dedication and resolve to really sit down and plow through all 100 minutes of this European horror film. This is the work of absolute devotees of the giallo movement. These are film makers who have absorbed Fulci, Bava, Argento, Lenzi etc and squeezed those films down to their concentrated essence. One of the worst aspects of most of those movies was always a convoluted plot weighed down by stilted dialog, so the directors remove almost all dialog from this movie. There can't be more than a few dozen lines and if you want to say there's an "A to Z" narrative, I guess there is, but it's only to push along the imagery.That imagery is what this movie is all about. It's like a checklist of archetypal images that every good giallo movie should contain. From the leather gloves to the continual shots of sharp knives puncturing and slashing flesh to the complete obsession with the color red and on down to the various shots of eyeballs through different holes. It's like these directors spent years studying the giallo and reducing it down to its' essential aspects, forgoing anything that wasn't necessary to creating a moving work of art.I, also, love the giallo movement and have sat through many a black- gloved movie that most would have considered to be garbage, so I share this movie's affinity for that genre and the adoration that it's so clearly showing. It's more than a little tedious, though. This would have worked great as an hour long project seen in a dark theater in an art museum. The movie asks a lot of its' audience, though, to stick with it all the way to an ending that not's quite satisfactory and not essential in any way. You could watch any random 20 minutes of this movie and have the same appreciation for it because there's no real story to resolve and no narrative to see to a conclusion.

Yet another exercise in all-style-no-substance film-studies-friendly/paying-audience-hostile giallo "homage" from Forzani and Cattet. Oh for Pete's sake - come on guys! Amer was one thing, quite interesting at the time, but the value of that film has somehow been retroactively diminished by the release of its identikit successor. Replicating the surface details of the giallo style is easy peasy - anyone can do it - it's the Spaghetti Bolognese of filmmaking. But the point of the original gialli classics was that they were proper functioning movies that would have worked as exciting thrillers even without the stylistic flash. Neither Amer, nor TSCOYBT, have proper plots, and for me, failure to provide an adequate narrative element is an abdication of the filmmaker's primary responsibility. I hope, for Forzani and Cattet's sake, that they are not currently working on another EU-cash-lake-for-art-house-piffle funded giallo homage, because they will be risking losing their credibility forever after, which would be a shame, because I get the impression that they are extremely talented and visionary filmmakers.