A young woman is suspected in the stabbing death of her roommate. Questioned by the police and imprisoned in a convent, the girl’s seductive wiles hypnotize all around her, drawing them into the unknown.
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Fascinating video and sound montage, the handling of colors and the use of still life insertions (glass, scissors) is remarkable. For me large parts of the film are a hommage to the happenings of the 1960s, especially to the works of Viennese Actionisms (e.g. Otto Mühl, see the sequence with eggs and color).
Do I understand why old men like to make movies with naked young women? Of course. But if you're Robbe-Grillet, you have a reputation that you're risking. You wouldn't expect the author of 'The Erasers' or 'Last Year in Marienbad' to be making nudie films. Many critics are old men too, and they come up with BS to make it sound smart. Who's fooling who?
"People who investigate the film for purely prurient reasons are probably going to end up feeling utterly confused and probably a bit icky. But anyone approaching it from a purely intellectual standpoint is also going to end up fidgeting uncomfortably at various moments. The perfect audience for the film is going to be someone who is a bit brainy and a bit pervy, with a wicked sense of humor." - Justin Remer, DVDTalk
hyper aesthetic, i really loved all the "white scenes" and the bright, artificial lighting and colours. on the other hand, the dark/religious-religious scenes seemed a bit more ordinary. the sound is incredible, and the image editing too! AND great actors!
I loved the directing style and color palette, but I can't help feeling that this whole project was just an excuse to watch young pretty girls touch each other. Not to mention the main character just plain pissed me off. Overall I liked the idea of the movie, just wish I hadn't felt so insulted while watching it.
Some may see Robbe-Grillet's films as incoherent, with no clear discernible story line, but take them as obscure, dreamlike manifestations committed to film by a literary-minded auteur, they become something else, as films that one can sink into and experience, first as a visual experience, then as an idea open to individual interpretation. Anicée Alvina's performance is paradoxically both vulnerable and confident.