Reviews: Nicolas Rapold(New York Times): Enervatingly synthetic, "The Strange Color of Your Body's Tears" slices and dices the images and tropes of Italian giallo-pin slasher films into an inert amass of style. Martin Tsai(Los Angeles Times): Above totality, its gratuitous graphic gore and exploitative nudity are unmistakably giallo. Joshua Rothkopf(Time Out New York): The filmmakers' control of the form extends to intentionally dopey performances and a undivided rejection of plot, all of what one. gets tiresome. Sam Weisberg(Village Voice): Torture and S&M fetishists wish savor its every knife-plunging, offspring-splattering, leather-crinkling moment. Everyone other should stay far, far away. Nigel Floyd(Time Out): If you shape it as far as the exposed, disappointing denouement, you might be left asking yourself allowing that the filmmakers' abstract style is wagerer suited to short films. A.A. Dowd(AV Club): Becomes a small numbing. Until then, however-and fracture points will vary-it feels like the greatest in quantity visually dazzling film of the fest Kam Williams(Baret News): A herculean to decipher whodunit guaranteed to be favored with you still scratching your head exactly after its confounding resolution. Brian Orndorf(Blu-beam.com): Only appreciable as pure cinematic craftsmanship, and it's a rich movie, teeming with inventive compositions and outrageous lighting. Simon Abrams(RogerEbert.com): It's a confrontational excitement dream film told from constantly shifting perspectives, and a cool, dizzying trip into a genre defined through violently conflicting emotions. John Esther(The Dissolve): The pellicle rarely maintains an image for again than a few seconds. Everything fust be rapid, colorful and artsy, bound it is an intellectual sham. Ryan Gilbey(New Statesman): I knew I'd ceased caring, yet, when Dan started wielding a sledgehammer in his flashy and my only concern was whether that was a supporting wall he was through to knock down. Rich Cline(Contactmusic.com): Deliberately disorienting, this courtly Belgian horror movie will delight fans of Italian giallo considered in the state of it finds an odd emotional kinsman even though the surreal plot not at any time quite comes into focus. Xan Brooks(Observer [UK]): Dim the lungs and light up the bong. Charlotte O’Sullivan(This is London): I was bored to tears (of a matter-of-fact hue). Glenn Heath Jr.(Little White Lies): Gone is any semblance of narrative, replaced by a ramshackle psychodrama that takes a basic set out (man looking for his missing wife) and fragments off into multiple giallo-infused threads. Tara Brady(Irish Times): Greatest Freudian Hits. Played it may be a little too loud. MaryAnn Johanson(Flick Filosopher): A teeth-grindingly, temper-boilingly infuriating cinematic trial that's like an art school film project gone horribly obliquely. Virginie Svy(Electric Sheep): An radical-sensuous, hypnotic trip through dark desires and the disturbing, grateful lines between pleasure and pain, frenzy and sanity, dream and reality. Leslie Felperin(Guardian): This hyperstylised horripilation thriller plays like a feature-long duration advert for a perfume that would aroma like tuberose, leather and rotting nourishment, with top notes of fake kindred and old cheese. Katherine McLaughlin(ViewLondon): Sexual fantasies and the fill with dressing of nightmares come together in this disorientating, incentive and exquisitely crafted journey through 1970s Euro-hatred and sexploitation.