The countdown continues…again!
The erotic drama is a unique subgenre unto itself. There’s always been a stigma associated with it in terms of the inherent sleaze juxtaposed with often revealing explorations of lust, love, sex, sexuality and the specificity of emotions associated when two or more individuals connect or attempt to connect on a physical and/or emotional level. The infamous classic Nagisa Oshima film, In the Realm of the Senses made it a point to juxtapose his lead lovers’ fiery passion with their self-imposed solipsism. Luca Guadagnino’s gorgeous A Bigger Splash sets itself in a rather “on the nose” yet still effective metaphor for this specific form of myopia and hedonism: most of the action takes place by a swimming pool on a private island surrounded by the sea. Essentially a riff on The Big Chill and 9 ½ Weeks, this vibrant tale is about the lustful intertwining love square between four individuals.
The Final Countdown!!!
The countdown continues…again!
The countdown continues!
The films of Argentinian director Gaspar Noé (Irréversible, I Stand Alone, Enter the Void) are obsessed with the intertwining of “authenticity” and “artifice” and thus: every scene of pain or desire is purposefully made overlong to leave the impression that they leave no stone unturned. Noé is a filmmaker who pushes audiences uncomfortably deeper into moments that are usually reduced to a suggestion or glimpse if they are not censored altogether. Some call him a “pornographer,” others consider him a “provocateur” – but whatever merits his work may or may not have, he is at the very least a challenging artist if only for the discussions his films provoke. Perhaps the most famous example from his work is the 12-minute-long rape scene in the middle of his dizzying revenge flick Irréversible; which used such scene to deal with the entire nature of consequence by contextualizing all the problems of the male-id “lizard-brain” thinking. Love is the title of Noé’s interesting-yet-difficult to see/unsee film, which opens with a man and a woman explicitly performing an unsimulated sex act to careening violin music (the film earns its X-rating immediately). Of course Love will undoubtedly be referred to as “that 2015 unsimulated sex movie,” a type of film that has been equally derided as taboo and praised as transgressive in the history of cinema. The modern “art house sex” movie has been a staple of festivals and young film fans and recent examples include the digitally inserted (i.e. computer animated) porn star genitals in Lars von Trier’s Nymphomaniac; Vincent Gallo receiving oral sex from Chloë Sevigny in Brown Bunny; and the body-double orgy in John Cameron Mitchell’s Shortbus. However, in the case of Love, does dabbling in taboo inherently make for worthwhile art or are we merely content to guise up pornographic indulgence with “artful” posturing? Where does art end and porn begin or are they intertwined beyond distinction? Likewise, which is more authentic: “lust” or “love”? Continue reading What Gaspar Noé Talks About When He Talks About “Love”