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<\/a>The plot, such as it is, borrows from the likes of What Are Those Strange Drops of Blood on the Body of Jennifer?<\/strong>, The Strange Vice of Mrs. Wardh<\/strong> and The Perfume of the Lady in Black<\/strong> (yes, the giveaway is in the title), as well as the better known work of Dario Argento. Dan (Klaus Tange) – who works in ‘telecommunications’, as he repeatedly states – returns home from a business trip abroad to discover that his wife has gone missing. Could it be that one of the assorted oddballs who lives in his fashionably\u00a0art nouveau<\/em> apartment block could be responsible? Or is it the building itself which holds the secret to her disappearance.<\/p>\n That’s about it as far as plotting goes: in terms of narrative, it doesn’t really go anywhere, and wherever it does go it goes there extremely slowly. There are momentary anecdotes which have a bit more structure – a doctor who becomes obsessed with the sounds coming from the apartment above, a voyeur who watches everything that the tenants do through a network of secret cameras – but much of the running time is is given over to Dan’s investigations of the house, his gradual mental disintegration and, well, just general weird sh*t.<\/p>\n There’s absolutely no doubt that it’s assembled with expertise and looks a million dollars with it’s array of colored filters, interesting cinematography, eye-catching sets and painterly framing, all of which are accompanied by a selection of familiar compositions from the likes of Ennio Morricone and Bruno Nicolai. But that’s part of the problem: the production as a whole plays like it belongs in an art installation rather than in a cinema. Unfortunately, the circuitous and stilted story means that as a film – rather than a work of art – it’s something of a trial, far more so than the not dissimilar works of Peter Strickland, who seems more astute in his blending of homage, experimentation and accessibility [confession time: I dropped off during both Amer<\/strong> and The Strange Colour of Your Bodies Tears<\/strong>, and I can stay awake through the most tedious and crapulent of productions]. Cattet and Forzani undoubtedly have talent, but they could possibly benefit from working with more structured source material and also possibly trying something a little different [note: it will be interesting to see how their new film, Laissez bronzer les cadavres!<\/strong>, based on a novel by Jean-Pierre Bastid and Jean-Patrick Manchette, turns out].<\/p>\n