The directors explore this with a marvellous sense of exaggeration, of a complete fetishization of sexuality and the human body. The other is the cause and effect of the teenage girl's sexual awakening. This is probably the most horrific part of the movie. A child's feverish nightmare shot in the otherworldly cyans and magentas of Mario Bava, where disfigured old men and strange hooded figures reach out to the camera. One is the root of it, seen through the kaleidoscope of a child's awestruck imagination. Two things particularly stand out for me here in this cinematic depiction of trauma. Better said, if we peel a cabbage we get the core, but if we peel an onion? Some will say we get nothing, but we've done the peeling and we've transformed the onion, so can we really say that? The cinema of Amer is that peeling. Still, what's important for me, is the tweaking of the filmed image to see is there another way to make cinema, the nature of an experiment whose results can only be appreciated in the future. But if Amer is not pushed forward by people talking, does it establish other means of communicating this story of sexual awakening and repression, the schism that follows from a child discovering a cruel world or a teenager being denied that discovery on her own? I'll say yes, but with reservations. There's very little dialogue and this appeals to me, because the convoluted plots were always my least favorite aspect of the giallo. It's a world come alive through the senses, by a child overhearing conversations from behind closed doors, or a young girl feeling the first tingling of a booming sexuality in her skin. That in mind, Amer is at once an apotheosis and a keelhaul of the panel, an overkill of shots capturing small details, of closeups of eyes or reflections or bits of the human anatomy. In this sense, the giallo rejuvenates me.
To put so much effort or go through all the trouble for the pleasure of something momentary, this exaggeration is essentially the province of youth, where the fling of a few days burns with the passion of true love.
So, does Amer reward the giallo fan with the wink of film reference, or is the giallo only the trope of an expression intended for a different audience? To go back to my appreciation for the giallo as comic book, it's the mentality of the colorful panel that appeals to me, the vivid bits of casual violence to strike a chord and be forgotten after the next page, the indulgence on something that reaches only as deep as the excitement it provides. But, even as I was writing that a few months ago, Amer already had a reputation as more than a giallo film, "arthouse" people insisted, which intrigued me more. When I say I'm a fan, I mean that when Stelvio Cipriani's song La Polizia Ha Le Mani Legate (originally part of Cipriani's score for Roma Violenta) finished playing in Amer's end credits, I rummaged through my cd collection to find it. I'm a big fan of Italian genre cinema, especially gialli, for me they fulfill the needs comic-books do in others. When I included Amer in a short list of films I was eagerly anticipating in 2010, I wrote that I was looking forward to "ostentatious cameras that go on a discovery of psychosexual nightmares, a stylish violence, jazzy grooves".