There is a reason that the English language has borrowed the term ménage à trois from French. Is it because the French invented them or have they just realised that the act lends itself to more sexual humour than other cultures have yet to realise. This film's humour is more aimed at the absurdities of monogamy than the noble threesome of French tradition. This film gets a star for each character it stars.
Odd movie in which one wonders what can be the motivation for depicting such relationships. I got a sense of a theatre play with a snobby execution. Snobby in the sense the characters being so well defined in their oddity for oddity’s sake. Old fashioned pride for frivolous sexuality is bubbling up my thoughts. Sexuality needs no pride to me at all, in whichever form, so one can easily figure how I dig this film.
Not my favourite of Ozon's, but interesting as a peculiar marriage of Ozon and Fassbinder's sensibilities (I'll be honest: I do not always get Fassbinder.) Worth watching for admirers of either. To me the real revelation here is Malik Zidi, whose face is an expressive wonder; his eyes seem to literally flicker at times. I'm very keen to see what this actor did with more age and experience.
absolutely loved it. brilliant dialogues, going from absurd to extremely deep. only four characters, perfectly layered in a very clear way. artistic shots that always seem to have an aestethic purpose beyond the narrative. highly recommended: a story of love, sex and dependency, with bittersweet twists.
A curious view of devotion and relationships, seduction and sexual desire. The fluctuation of roles, and sacrifice within partnerships explored from every angle. A commentary on modern values, aspirations of basically lonely people and need for comfort with others.
Acidic satire that has 'Fassbinder' stamped all over its naked flesh. An entertaining mixture of serious commentary on the nature of desire and melodramatic farce. The conventionally bourgeois setting of the apartment and the mannered acting style give the film both plus and minus factors. They enhance the satire but also make it a bit too 'stagey'. The dance sequence is superb!
Leopold carries all the tension of the film, where it draws people's love and devotion to themselves and their desires, making them willing and forgetting about themselves. The movie represents these sickly loves, where one side of the relationship completely gives up and the other stays stable, really like a scorching rock attracting the tiny drops of water, about to evaporate its essences for a sick love
This was so wonderfully not serious! Theatrical, exaggerated, wahrlich Fassbinder! The power games between the lovers (and ex-lovers) feel as crazy and silly as they are most often. You wonder why the fuck do they put up with that shit. But that’s love: A game in which each plays for him-/herself even when they claim only to care about the other. And he (or she) who loves the least, wins.