brannonhungness It isn't very often that I want to keep watching a film over and over again.This is one of those kinds of films.

sol- Returning from a business trip to find his wife gone but their apartment locked from the inside, a middle aged man investigates matters himself when labeled as the prime suspect in this mystery thriller that is more offbeat than it sounds. The man's amateur sleuthing leads him to conversing with his some of his apartment complex neighbours for the first time, none of whom seem normal, and as the film progresses, it is revealed that apartment complex has labyrinthine hidden walls and passageways that may hold clues. Some have interpreted the film as metaphorical with the condominium representing a disturbed mind, but the film works fine as a straight mystery too. That said, it is deliberately paced and full of bizarre imagery, including kaleidoscopic shots and fancy edits galore. At times, the film feels showy, like a canvas for the filmmakers to experiment rather than tell a story, and some images (the girl giving out candy) seem utterly random. And yet, it is hard not to admire the finesse put into all the graphic (and non-graphic) match editing, like the protagonist drinking cut against a hypnotic wheel. There is also an amazing bit in which his face is spliced against a detective's in split screen, giving the initial appearance of one whole face. The film is quite an assault on the senses if nothing else - which seems only appropriate to reflect the stress and agony of a man searching for his wife while under police suspicion himself. The title, for what it's worth, seems to be a reference to gushing blood; what sort of blood in particular is only revealed at the end.

carlbrookins There is no ending and no beginning. Missing narrative destroys a film with mesmerizing sequences and images. Not sufficient unless we are simply looking for that, plus a sound track that at several junctures grabs a viewer by the throat.What is so disappointing is the obvious filmic talent on display that goes nowhere. It is difficult to judge the acting because the style obviously demanded by the director is flat and almost entirely one dimensional. There are a few hiccups, such as an unwanted reflection or two, but generally the visual images are powerful, as are some of the sequences. I recommend serious viewers consult a copy of Kraft-Ebbing for a deeper understanding of some of the images.

Boyd Yes ... Every scene is beautifully lit and designed ... But there isn't one new idea in this boring piece of junk ... At times you feel like you are watching a car advert ... And frankly an adverts length is about all these two could handle well ... They wouldn't know what to do with a character if their lives depended on it ... And wouldn't know a narrative if it bit them on the bum ... NO ... They do not manage to create an alternative surreal dream narrative, though I expect that it what they would try to claim ... That I'm afraid takes imagination and that isn't something you will find here Now don't misunderstand me ... Each scene is shot meticulously ... And would look perfect ( if somewhat lacking in ideas ) as a coffee table book ... As a film it is a complete, vacuous, failure And I would like to point out to the directors, that endlessly refer to their gialli influences, that these lighting effects actually were mainly used in Sword and Sandal/ Fantasy and Horror films in Italy in the late 50s - mid 60s and really were quite rare in gialli