An erotic thriller in the tradition of Dressed To Kill and Basic Instinct, Brian De Palma’s Passion tells the story of a deadly power struggle between two women in the dog-eat-dog world of international business. Christine possesses the natural elegance and casual ease associated with one who has a healthy relationship with money and power. Innocent, lovely and easily exploited, her admiring protégé Isabelle is full of cutting-edge ideas that Christine has no qualms about stealing. They’re on the same team, after all… Christine takes pleasure in exercising control over the younger woman, leading her one step at a time ever deeper into a game of seduction and manipulation, dominance and humiliation. But when Isabelle falls into bed with one of Christine’s lovers, war breaks out. On the night of the murder, Isabelle is at the ballet, while Christine receives an invitation to seduction. From whom? Christine loves surprises. Naked she goes to meet the mystery lover waiting in her bedroom…
Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.
Born on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.
At first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom… read more
Let me preface this by saying: I’ll never not be interested in a new De Palma film—especially when he’s in psychosexual mode. But as others have expressed more elegantly than me, there’s a nagging sense of De Palma, as a filmmaker here, being stuck on a leash. This is unfortunate, because one thing that’s always been so attractive about De Palma is his willingness to push far past good taste—
I don't know why I 'had' to watch this A Corneau's Crime D'Amour remake, considering that I managed to stay away from 'Mission to Mars' (1 out of 25 De Palma's movies at that time...) I'd give one star more to this, for the 'premium' ('vital' :) ) split-screen sequence, one less for the self-referential abysmal 'extra'-ending (At least, at the end I know that I'd like it more if it wasn't a remake)
Our annual round-up of all the posters for the main slate of the New York Film Festival.
More De Palma on our fifth TIFF dialogue, plus new work from Bellocchio and Von Trotta, and PT Anderson’s highly anticipated new film.
Our fourth TIFF dialogue engages some of the best films of the festival: new work by Brian De Palma, Heinz Emigholz and Nathaniel Dorsky.