Qui connaît la propension de Seidl à filmer dans les coins et recoins sombres de notre humanité, pointer les sournoises opacités relationnelles et les obscures béances de la personnalité, ne sera guère étonné par l'acidité révulsive de ses propos et de ses images. Sans cesse avec insistance et méthode, le spectateur est confronté à ses propres fantômes, à travers cette incroyable balade nauséeuse. www.cinefiches.com
I know that the level of discomfort and tension was intentionally high, but wow, I could barely make it through this one. Everyone takes advantage of everyone here; it's ugly and hard to watch, in particular the scenes where the white women ("sugar mamas") leer, mock, and objectify.
That was a fairly painful two hours, BUT it was outstandingly exposing. I appreciate Seidl’s acknowledgement of the sad, desperate, lonely side of love. However, he doesn’t stop there. The movie also calls the often exploitative nature of tourism to attention. The somewhat depressing, but contemplative film should leave you thinking at the very least.
A lonely tourist searching for love, finds it in sexual experiences of Kenya men. The use of color in this movie is spot on, even as it progresses to the darkness at the end. Seidl gives a narrative of desperation, desperation that comes from loneliness and poverty. He presents a sad reality where a person needs to find a sense of love even at the expense of intimacy or honesty.
The delicate intelligence of this film got to me. I feel I was able to see and know the characters because their nuances were allowed to show a whole world. Like I was given a chance to figure out the various contexts that make up real people’s lives. Gorgeous cinematography and fine acting by actors and non-actors.
Just when you think this woman figures out things are going south for her in "Paradise" she goes and does something crazy. The movie is definitely unpredictable in many ways. Not my usual type of movie, but I can appreciate her willingness to try something new. I plan to continue to watch the trilogy strictly out of curiosity.
Seidl deploys an austere, "Northern European" emotional palate that threatens to suffocate this culture clash. But the contrast between the film's style and social commentary is what makes it so evocative. Love, like love, begins with a simple premise and goes on to explore a virtual minefield of issues around sex, gender, objectification, race, neocolonialism and global capital. A bold, witty and heartbreaking film
The scene with the stripper will haunt me. It's exploitative as much as respectful. It would be sadder if it weren't frantic and so full of something approximating life. In the end, I can't say exactly what this movie does to the "sex tourist" film, understanding translation well. Style is a very impressive combination of handhelds and austere squarish frames, neither outshining the other.
I wish it were an exploitation flick. My sense of both moral and aesthetic judgment was arsefucked by watching these hypocritical European lardasses lord it over the desperate and docile Kenyan citizens. It needed a brutal masked Mandingo character to violate the main character's sense of entitlement. Or at least a scene where Munga bitch slaps the heroine after she confronts him and the family at the beach.
I can appreciate the aesthetic and meaning behind certain shots. The feeling I got from this film is bleak, worn-out, desperation. The main character is desperate for love which is something I think many can relate to. I like that this also showed exploitation and how tourists view the natives of the country they're visiting. There was no obscurity, no censoring, which made it feel all the more real.
The film ends on a very odd note, leaving the viewer with an empty feeling regarding the movie as a whole. I won't deny the beautiful cinematic work; however, the content leads too far to on the objectivity spectrum. The majority of the scenes make the viewer very uncomfortable, and the entire film is degrading to both genders. It is difficult to identify with the extremes this woman takes her desperation to.