Described in the program as a “giallo in its purest form” (a genre with which I can’t pretend extreme familiarity), Let the Corpses Tan, a film out of Belgium from directors Hélène Cattet and Bruno Forzani, is basically shot as if the entire thing lives in the gun fight from The Good The Bad and the Ugly — dramatic close-ups, epic music, stylized sex and violence. It’s the kind of tits n’ splatter film that will juxtapose a squint, a gun hilt, a bead of sweat, bookended by gunshots and punctuated with gore. It certainly makes an impression. The gunshots sounded like they clocked in at about 130 decibels during my screening, to the point that I actually stuffed napkins in my ears during the title credits.
Gleefully crafted and full of memorable shots, it was easy to understand why the festival programmer who introduced it said he “jumped out of [his] seat and ran around” upon seeing one scene. I’m guessing that scene was either the one where the naked lady pees on a guy’s head, or the one where she lactates champagne. Fantastic Fest basically exists to show movies like Let the Corpses Tan.