1.5 stars. If you liked semiotics, you'll love this! Made by a man who clearly took Lacan too seriously. Could have been as bracingly pretentious as Godard's work of the same period, but whereas Godard's work makes my brain fizzle, 'Eden and After' just made in moulder. Relatively hateful, tho at least a useful time-capsule of France in '69. I should have just watched more Ruiz since his semiotics are never > alchemy
I watched the beginning, thinking, this looks like one of those artsy french womanising films from the seventies. Then this bloke comes on in his seventies attire and drivels about policemen and closed narratives. That was enough for me. Made it through the first seven minutes.
The emptiness of image as the emptiness of youth as the emptiness of art. Robbe-Grillet brings both - tricky and tacky. On stage: mondrian-on-acid; or arrabal-at-tiffany's. Beware of french cinema: it's damn shallow, but most certainly damn sexy. We experience these glorious sequences - but what for?
about as "deep" as the spiritually retrograded "music" it fellates (and subsequently induced bowel movements). not even satan is pleased with such conspicuous, shock symbolism (though freud just projected consecutive searing loads over his own fecal carcass at the concept of "liberating" non-structure). femdom for artfags (see lynch, david).
Too much fuss and too little meaning, but still a worthwhile watch for unique directing style and intriguing imagery. I couldn't help but notice the occasional opening of window blinds to reveal an onlooker -- a motif from the beginning sequences of Robbe-Grillet's directorial debut, L'Immortelle. Voyeurism? Or just a cool camera shot? Blue Velvet comes to mind.