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Ratings & Reviews

  1. Adam Whybray's rating of the film Eden and After

    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

  2. spasmolytic's rating of the film Eden and After

  3. Caramel Cookie's rating of the film Eden and After

    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.

  4. Rafael Zen's rating of the film Eden and After

    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?

  5. Stefan Drees's rating of the film Eden and After

    An enigmatic filmic experiment with excellent video/sound montage.

  6. ammar's rating of the film Eden and After

  7. Hira's rating of the film Eden and After

    https://cinepensieri.wordpress.com/2017/02/05/oltre-leden-leden-et-apres/

  8. Balthaz21's rating of the film Eden and After

  9. Bonnet Michel's rating of the film Eden and After

  10. L'immoralistee's rating of the film Eden and After

  11. opandadodavid's rating of the film Eden and After

  12. Joao Pedro Amorim's rating of the film Eden and After

    sensorial elegy for a generation

  13. alimcintyre's rating of the film Eden and After

    Utterly beautiful from the acting and the actors to the eroticism. The plot doesn't matter but the overall sensuousness is compelling. An unforgettable experience particularly due to Catherine Jourdan.

  14. Paul Narvaez's rating of the film Eden and After

    An orgasm of images. Vapid and pretentious, but hey. It's really fun to watch (if you can stay awake).

  15. Wee Hunk's rating of the film Eden and After

    It's so sad when an artist loses his way. Start with the legendary 'Last Year at Marienbad' and end up with dreamy nudie flicks. Quelle déception! This was the turning point. Go see 'Trans-Europ Express' or 'L'homme qui ment'.

  16. Ebru Yörükoğlu's rating of the film Eden and After

  17. Illusion Travels By Streetcar's rating of the film Eden and After

    "What was so nouveau about the Nouveau Roman?" http://illusionpodcast.blogspot.com/2014/06/episode-19-first-films-of-alain-robbe.html

  18. Cependant's rating of the film Eden and After

    Jeux sous hallucinogènes de l'étranger.

  19. Elena Lazic's rating of the film Eden and After

  20. Artem Eihart's rating of the film Eden and After

    "the image of sum is the sum of images"

  21. Peđa's rating of the film Eden and After

  22. rllr's rating of the film Eden and After

    Art is what you can get away with and Robbe-Grillet - as an author and as director - finds himself tipping over the line more than often. He wants to be deep and intellectual, but he's not. Visually, Eden And After remains fascinating and eye-pleasing poetry.

  23. waywardwaters's rating of the film Eden and After

    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).

  24. Rachel Tyler's rating of the film Eden and After

    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.

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