For Let the Corpses Tan, Hélène Cattet and Bruno Forzani trade the giallo stylings of Amer and The Strange Color of Your Body’s Tears for a wild heaping of spaghetti-western psychedelia. The married French filmmakers may be fixating on a new genre, but their deliriously abstract and meta approach to their craft remains intact. In fact, the shift in genre focus only gives them new objects and landscapes with which to play their formalist games.
Beginning with the sound of gunshots as paint splatters on a canvas, Cattet and Forzani announce their intent to elevate style above all else. What follows is a deliriously gleeful, rapid-fire montage of sound and image: extreme close-ups of burning cigars that threaten to set fire to the very image of the film, landscapes refracted through sunglasses or the flames of a lighter, the crackling of meat roasting over a fire, and enough creaking leather to make Kenneth Anger blush. Let the Corpses Tan is driven by sensory overload—its formal elements pieced together in rhythmic crescendos designed to titillate not with sex or violence, but through sheer cinematic inventiveness.