Two corporations compete for illicit 3D manga pornography, sending spies to infiltrate each other’s operations. When it comes to light that one of the concerned parties controls an Internet site which broadcasts actual torture, the plot thickens.
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The movie Bret Easton Ellis' Gamorama will never be. That is, unless Olivier Assayas gets his hands on it. This is as sleazy, sinister, sexy, handsome, thrilling, frigid, vain, bizarre, and post-modern a work as we need this decade.
I loved it.
It fell apart. It was a bit damaged goods from the start with this idea that porn would become that important or even that interesting. The utterly trivial details of the 3d porn somehow became important in this bizarro world. Part of the reason it disintegrated as a film had to do with the main protagonists being women, fighting each other, to support a world of male fantasy. The ending was just plain insulting.
From intellectual property theft to cyberporn to snuff, this Assayas thriller really is fun for all the family! Morbid kidding aside, the director's cynicism regarding the state of society is by no means hyperbolic. The influence of 'Demonlover' can be seen in films like 'Elle'. An indispensable subject for post-modern film scholars.
A severely flawed, mesmerizing classic. I can understand the initial hate the film got (everything about it is ambiguous) but a decade later this film seems relevant as ever, even if the technology looks late 90s.
Straightforward corporate espionage...builds up a lot of urgency but also becomes more and more (unnecessarily) incoherent as it goes on. Like every Assayas I've seen, it feels as if large portions of the film were removed and then replaced with random nonsense. There doesn't seem to be any point in doing this, so it ends up being frustrating to watch...
I keep coming back to demonlover. It's intoxicatingly beautiful but also portrays such a morally repellent world, with slick and alluring surfaces all facilitated by greedy and unsavory means. Absurd but captures a sort of hectic modernity that I found almost sublime. I think Assayas really accomplished something here, both emblematic and idiosyncratic, that will leave me forever dazzled, troubled and intrigued.