Since 2009 Belgian duo Helene Cattet and Bruno Forzani have been crafting exquisite genre love letters. Their brand of eye-candy visuals and intensely sensuous sound design are instantly recognisable, as are the influences they flaunt so proudly. Their first and second features, Amer and The Strange Colour of Your Body’s Tears, are odes to Italian Giallo whilst their third, Let the Corpses Tan, is a dive into the world of Spaghetti Westerns. Reflection in a Dead Diamond, their fourth film and first in 8 years, takes on the psychedelic, far-fetched, and fantastical Euro crime capers of the 70’s and is easily their most enjoyable, beautiful, and ambitious film yet.
On the coast of Cote d’Azur, John Diman (Fabio Testi) an elderly bachelor staying at a grand hotel, spends his days sitting on the beach sipping martinis. When an elusive guest in a neighboring room disappears, Diman begins to relive his days as a deadly spy, and worry his past is catching up to him.
For fans of Cattete and Forzani, Reflection in a Dead Diamond is an absolute treat. It flaunts all of the technical prowess exhibited throughout their careers, the most vibrant, alluring visuals yet (courtesy of long-term cinematographer Manuel Dacosse), and , most interestingly, their most cohesive story to date.
From the first instant the wistful Mr Diman falls into nostalgia, you can see Cattete and Forzani are having a ball. The duo’s propensity for graphic matches and manic camera work blends two timelines with breakneck pace. Is the geriatric spy having flashbacks of a previous career in espionage, or is he an aging film star falling into fantasy? It’s like an experimental Bond sequel about a retired 007, or a meta biography of Roger Moore. Those Bond references are encouraged by the film, as is the clear adoration of Mario Bava’s cult classic Danger Diabolique.
Its the perfect point where narrative disassociation, style, and plot collide, a kind of apex of form for Cattete and Forzani who have previously been more inclined to making genre collages irrespective of rewarding storylines. Reflection in a Dead Diamond shows off uncharacteristic narrative focus, but also action-packed sequences with the trademark talent for eye-watering gore.
Back in 2009’s Amer the nauseating sound of a straight razor on teeth announced the arrival of a directing duo focused on the sensory potential of on-screen violence. It has served them well. Their latest offers another smorgasbord of stylish and sadistic wince-worthy moments. One bar-room brawl sees the mysterious leather-clad Serpentik dispatch a gang of brutes with razor blade fingernails and a cut-throat stiletto heel. It’s as messy as it sounds.
The film is crammed with innovative visually-focused thriller moments, though. If the scene is a diamond heist, then you can guarantee that it won’t look like any other heist you’ve seen. If its a car chase, you can guarantee it won’t look like any car chase you’ve seen.
The seedy, cartoonish, yet opulent world of 60s/70s Euro thrillers is a perfect playground for Cattete and Forzani’s uniquely lurid and kaleidoscopic style. Reflection in a Dead Diamond is one of the most vibrant, entrancing, intoxicating, and thrilling pieces of cinema you’ll see this year. Not to be missed.
5/5
Scott Clark
Dir. Helene Cattet and Bruno Forzani
Stars. Fabio Testi, Manonn Beuchot, Yannick Renier, Koen De Bouw, Maria de Medeiros
