If helps the process to have seen enough experimental cinema, Antonioni-ish ur-ambiguous 'intentionally signification resistant' art, and Argento-ish European erotic fairy tale horror films from the 60s-70s, so the analytical signifiers and references can cascade upon you, the way Un Chien Andalou cascaded horror upon rioting Parisian art critics in 1929, or the Basilica of Santa Croce cascaded upon poor Stendahl. Thanks to these two kids who made this wild film, Stendahl syndrome's not just for Florentine tourists, or Asia Argento, anymore. This time it's poison L. This time they came for me. I fell.
And then forward into an outright panic attack as the construct of self within your mind shatters like Ellison's glass goblin.
Your head's shambling pedestal falls
to the museum's dirty marble Florence floor
Your back's against the couch still --watching
the shattered shards scatter off the diving board couch
and you swim
deep down - the floor comes towards you like a mouth,
Betty Blue Boy delivers a candy colored poke
in the outcast cowboy burning constantly at stake
But what mouth?
And what is the difference between faking not having amnesia and not having it but secretly pretending to (secret as in pretending you know what's going on when you don't but not really, i.e. faking it even to yourslf? This is what we black-out drinkers are familiar with --easing our way into our lives each morning like we know all that happened the night before but we don't - it's an art).
Many have tried and a few have come close to harnessing the kind of alternating current a romantic male-female directing-writing team couple can generate: Debra Hill and John Carpenter came as close as anyone with Halloween (1978) but every film has to get up from the table and go pick a bathroom sooner or later, and Halloween eventually chooses the Men's, which means John Carpenter in the limelight, Hill to the side. No film has made it all the way past the border of gender and to the boundary of the split subject, avoiding picking the man as the director, woman as producer, or vice versa --no film makes it past nationality, temper and even age, smashing through the wall between the bathroom doors and finding its own special hidden alcove. Amer isn't male gaze or the female gaze but both gazes sliced up in long celluloid pupil Laura Mars strips and arranged in Sergio Leone eye close-up layers to form something as new as neither, as referential as Tarantino and transgressive without relying on anything so paltry as meaning, story, narrative, coherence or logic... or even cheap shocks. Would your dreams ever deign to use them? Why should Amer? Instead it resists even the fundamental hazard at a guess of meaning critics might find in something similarly post-structuralist like Antonioni's Red Desert. It's something as slick and enjoyable as any modern movie but deeply entrenched in the experimental and certain to confuse or irritate anyone expecting signifiers and the real to properly adhere.
The male-female creative interaction of Hélène Cattet and Bruno Forzani seems mirrored in the zig-zag rhythm of the shots - one step into giallo narrative, one step back along fractured dream abstracted surrealism, each refracting and reflecting the predecessor - move, countermove and so nothing is ever clear or unclear. Everything resists a concrete interpretation but beguiles us into wanting one, uses that want for its own purposes: it doesn't charge ahead like a boy with an uzi and climax or dissolve into curios like a girl with a flower, yet if you don't run away in disgust, or boredom and if you don't dismiss it all as girly stuff or misogynist or think you don't know what's going and and just ride with it, but remain alert and enthralled and ideally high on lack of sleep and Jung and art and Robitussin, then there it is, in its sublime perfection, the mind--both halves--inner and outer, conscious ego and unconscious animus locking into place while busting open at the same time, the unconscious's language signifiers become reshuffled, the normal narrative progression cracked open like a nut, the inside goodness free falling in slow motion and for a moment you and the unconscious and the images onscreen are all one - the barrier of screen and speaker between you has evaporated.
When dealing with the giallo genre in the scope of female fairy tale icongraphy it's important to stress that the collective as well as personal unconscious does not recognize the border between life and death, between the alive and dead version of you, the ego/soul/body/consciousness. Your dreams are the same whether or not you die outside of them - death in your bed doesn't wake you from the nightmare. The razor in the hand of the man chasing you is never just a phallus, penetration anxiety or even fear of death. It's a fear of dissolving, a loss of self, the split - you are afraid to turn around and face the demon chasing you in your nightmare for a very good reason - once you turn around and face it the demon will merge with the 'you' who stopped running, both will cease to exist and a new life will begin. Only through fear of change, or merging, of opening the self's border, does one hold onto the virginity of a tangible unchanging self. All else is transition. All of Amer is this transition - it is a coming attractions highlight reel of infinite length, the narrative arc of the 90 minute film split three ways, and from there three more.
The first such split occurs during childhood - the Freudian key that unlocks Bluebeard's secret dead bride storage: Bava's Black Sabbath, Suspiria, Alice in Wonderland, Wizard of Oz, Brothers Grimm, and Valerie and her Week of Wonders. The second turns sunny and erotic with the girl on the cusp of sexual maturity: Rohmer, Betty Blue, Emmanuelle, Fellini, Blow-Up and Chabrol, and even maybe Cocteau. The third and final turns to the dark again: Argento, later Bava plus Blood and Black Lace, Soavi, Fulci... but with the jittery bipolar modern 'twang' of Antonioni's Red Desert, the eternal dance of metatexual refraction never ends. The movie becomes a male-female duel in exquisite corpse fashion, not scene by scene but shot by shot, each image reinterpreting the one that came before, ever circling dark truths but resisting meaning and remaining the pinnacle of cinematic 'dream logic.'
The only way to describe what's going on is to give these kids a name, so I'm calling them the Darionioni Nuovo, a group of filmmakers who have melded the experimental and deeply psychoanalytical styles and substances of Argento and Antonioni into a modern new vision for cinema, one geared towards not just the moviegoer's eyeball but their pupil, not just their ear but their ossicles. This is a zone that we usually don't trust 'new' filmmakers with, especially not in America where everything has to be laid out with big yellow lines and breasts and 2.3 children and token minorities and police and moral lessons and zeitgeist-dictated products placed according to rating and market. But in Europe and places where socialized education and less hysterical reactions towards sex and cigarettes lets the youth get super intellectual for free here they are, in three films reachable via Netflix, Berberian Sound Studio, Only God Forgives, and Amer but mainly or totally in this instance, Amer. Maybe they can't be appreciated, or even endured, without familiarity with the 60s-70s European horror film canon, but if you haven't experienced any of it, then what are you, un poulet?
Now when a guy, a bro, a dude tries to make a female coming of age story, no matter artsy or 'feminist' it's still a male fantasy, in the end, am I right guys? And that's a shame, because on the one hand we're not allowed to get turned on by the Blue is the Warmest Color because it's still the leering male gaze, and on the other we can't enjoy Chris Lilley's HBO show Private School Girl because our anima gets jealous. And when a woman makes a coming of age film she either lets her animus, "her master's voice" lure her into a phallus-sacrificial circle in the forest, ala Thirteen, or projects said voice clear out of the room with the cricket bat-like swipe of a musketeer's sword (Breillat's Bluebeard). Amer rolls the length of the blade and into the 'win a free game' hole at the end. When it emerges it is, como si dice, ready for the Lynchian eraser factory.
And when it goes in, what then? The lights come in corners of this massive factory that have been dark for years! You forgot the lights were even there, forgot the corners were even there. Machines start whirring and you don't even know what they do or where they came from. People are applauding you, Nina, you didn't even know you were onstage. Who are those people? You've moved from being just another American whining for his climax to a European calmly engaging the sensual. Now, Nina, Now, Now you really are the Black Swan. And some trick velvet light choker box snaps shut behind you and all is clear, the concrete Basilica floor snaps up to greet you like a grounding lover. And on the count of three you are back to one / true / split.