Let the Corpses Tan 2017 123movies

Watch: Laissez bronzer les cadavres 2017 123movies, Full Movie Online – The Mediterranean summer: blue sea, blazing sun….and 250 kg of gold stolen by Rhino and his gang! They had found the perfect hideout: an abandoned and remote hamlet now taken over by a woman artist in search for inspiration. Unfortunately surprise guests and two cops compromise their plan: the heavenly place where wild happenings and orgies used to take place turns into a gruesome battlefield….Relentless and mindblowing..
Plot: With a heavy haul of 250 kilograms of gold bullion, the grizzled criminal mastermind, Rhino, and his ruthless gang of cutthroats, head to a ramshackle retreat somewhere in the Mediterranean to lay low on a scorching day of July. However, the unexpected and rather unwelcome arrival of the bohemian writer, Bernier, his muse, Luce, along with a pair of no-joke gendarmes further complicates things, as the frail allegiances will soon be put to the test.
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Ratings:

	6.2/10 Votes: 3,189
	74% | RottenTomatoes
	62/100 | MetaCritic
	N/A Votes: 95 Popularity: 5.255 | TMDB

Reviews:

Psychosexual Surrealism Dressed up like a Cowboy
The concept is simple: a gang of criminals stay at the isolated hideaway of an eccentric artist and her lover after stealing 250 kilos of gold. Shenanigans ensue. And they ensue quite strangely.

This is a psychosexual surrealist film disguised as a spaghetti western. Many are judging this strictly in its capacity as a spaghetti western, claiming that the strange, surreal scenes were merely a waste of time. If anything, the opposite is true. The power dynamics, back-stabbing, and fights for survival are secondary to this film’s main goal, which seems to be as follows: to show (as stylishly and creatively as possible) these characters’ darkest impulses and fantasies. Very similar to their last work, The Strange Color of Your Body’s Tears, Hélène Cattet and Bruno Forzani place equal importance upon what’s going on in the “reality” of the film and what’s going on inside the characters’ heads. One character’s overwhelming and confounding sexual fantasy might be given just as much dramatic weight and screen-time as another character shifting their allegiance or being killed, despite the fact that one of these scenes makes sense in the context of the plot and the other does not. This feels less like watching a spaghetti western than it does like watching a nightmarish wet dream of someone who had seen a spaghetti western the night before.

The nature of this film makes it difficult to give it a rating. The mish-mosh of high-brow and low-brow elements makes it very hard to compare to any other films. Yes, people always compare this directing duo to Argento, but their obsessive need to explore the subconscious fantasies of their characters is vastly different than any of Argento’s work. Their films take place maybe 80% in the characters’ heads whereas Argento’s films usually take place firmly in reality (albeit, a strange, uniquely lit reality). All in all, I would give it an 8/10, and that rating is hard-earned through ingenuity alone. The characters can barely be called archetypes, there’s no one to sympathize with, you barely know anything about any of the characters save for the most banal backstories, the plot isn’t given much attention, and there seem to be major moments that are oddly glossed over. Instead of focusing on all these elements that would make a movie “good” in a traditional sense, Cattet and Forzani dive deep into a sexual dreamland of violence and fantasy and do so with constant and I mean CONSTANT creativity.

Almost every single scene is filmed in a way that feels enchantingly fresh. Since it pulls heavily from the spaghetti western genre (a genre that I adore, but has been done into the ground, then spoofed into the ground, then tributed into the ground), there are scene types that we’ve all watched a thousand times before. Predictable moments that you’d expect to be filmed in a cookie cutter fashion. Instead, each scene is treated like a feverish, experimental short film designed to get the general gist of plot details across, but, much more importantly, utterly enrapture its audience with shockingly gorgeous cinematography, mind-bending editing, and sound design that will have you weeping with joy, all to communicate a sense of otherworldly, darkly violent sexual tension. Admittedly, for every experimental scene that works, there’s one that doesn’t, but because of the sheer quantity of risks this film is willing to take, the missteps are more than forgivable. I found myself thinking of Hausu while watching it, another film where at one moment I would say to myself, “Why would they film it like this…?” and in the next, “I don’t know. But I love it.” This is the result of two filmmakers having unabashed fun with their medium and I personally found their subversive glee to be infectious. If you want to see a traditional, Oscar-ready thriller…avoid this one. But if you want to see a whacky fun-house of experimental style, go get your ticket now.

Self-consciously “artsy” tribute to a by-gone era
“Let The Corpses Tan” is a bravura giallo/Spaghetti Western pastiche, almost (but not quite) ruined by overly intrusive sequences that are apparently either fantasies, hallucinations or memories (most of which involve the female painter/haggard sex goddess) and way too many closeups of eyes and mouths.

Another problem: the shifting allegiances and points-of-view make it hard to figure out what the heck is going on sometimes, especially when all the characters are really just signifiers for various fictional archetypes – visually striking, but narratively just kind of occupying space.

In its favor: the movie is flat out gorgeous. I wanted to stop the film at any number of points to take a screen print, frame that print, and hang it on my walls. Also in its favor: the characters the actors play are opaque ciphers (there’s really nothing to “know” about any of them except their roles – gangster, cop, crooked lawyer, dissolute painter, etc.) – but the actors do a wonderful job emoting for the camera. Even though you don’t have any real reason to care about them, they are all really interesting to watch as they do their things.

So: if you want a movie that’s hard to care about, but fun to watch even if it doesn’t make a lot of sense…this may be worth your time. I’m not sorry I took the time to run it down, and I might even watch it again at some point.

Other Information:

Original Language fr
Runtime 1 hr 32 min (92 min)
Budget 0
Revenue 0
Status Released
Rated Unrated
Genre Thriller
Director Hélène Cattet, Bruno Forzani
Writer Hélène Cattet, Bruno Forzani, Jean-Patrick Manchette
Actors Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin
Country Belgium, France
Awards 4 wins & 9 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio 2.35 : 1
Camera Arriflex 416, Zeiss Ultra 16, Ultra Prime and Angenieux HR Lenses
Laboratory Studio l’Equipe, Brussels, Belgium
Film Length N/A
Negative Format 16 mm (Kodak Vision3 50D 7203, Vision3 500T 7219)
Cinematographic Process Digital Intermediate (master format), Super 16 (source format)
Printed Film Format D-Cinema