Movies can only show us so much information on screen at a time. It's a fact of the medium; once a moment passes, it's usually gone for good. Maybe, if it serves the story, we'll revisit bygone scenes in a flashback — but probably not. With their bloodstained neo-Western Let the Corpses Tan, Hélène Cattet and Bruno Forzani defiantly thumb their noses at this truism. Cattet and Forzani are not the first filmmakers to muck about with chronal affairs or show their audience one event filtered through multiple character viewpoints.
Let The Corpses Tan Is An Exhausting Movie. That's What Makes It Great.
The Week - Entertainment, The Week: Arts
Fri, 08/31/2018 - 2:45am
Topics: hélène cattet akira kurosawa but let rhino stéphane ferrara luce elina löwensohn michelangelo marchese max bernier marc barbé dorylia calmel bamba forzani ndiaye marine sainsily hervé sogne dismounting suddenly bernie bonvoisin cue rhino pierre nisse max corpses tan cattet cattet rashomon let corpses on rhino rhino luce max the the tan exhausting movie brute film title card character maid gendarme characters audience sees hideout lawyer takes wife time show event gendarmes editing sequence events place perspective good plot filmmaking predicaments moment gunshot experience perspectives cuts thieves sound lies routine gold bell turning effect immediately fires viewpoints aims gun
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