Actually not bad; would give it 3.5 stars if that were possible. An intellectual talk-fest (mostly one-way) with a couple of sex scenes interspersed. Some of the points are more melodramatic and exaggerated than they need to be, possibly to pad it out beyond an hour. It was at least interesting. You won't feel used watching it, although you may be grossed out. As the "alert" says: not for the faint of heart.
Disclosure: I could only make it through about 30 minutes of this. It almost worked as a parody of Lacanian psychology or late 20th century French cultural feminism, but it was not funny. At all. It started to feel like Slavoj Zizek was trying to write and stage a Pinter play. Stupid silly, not fun silly.
I can’t endorse causing, under the guise of entertainment, real harm to any animal. In this work an innocent (and very hungry) baby bird is plucked from a nest. Moments later a baby bird is flung to the ground. Perhaps it’s a double, already dead … that is unclear. Either way, it is then stomped until its insides spill out. Absent assurance no baby bird was harmed for Ms. Breillat’s pointless scene, avoid this title.
I would have given this a five-star rating, but I found the ending to be anti-climatic for such an incredible film. The camera work was beautiful, some of the composition left me speechless. The dialogue, while sometimes over the top, was poetic and beautiful. This film is a true work of art, proven by how divisive it is. Also, props to makeup department. The subtly of the chipped nail polish was perfect.
I’m unsure what that was, even what my emotional experience was in watching. Initial imagistic thoughts are that it’s a subtle, complex answer, and challenge, to a long list of things. Like Noé’s Irreversible, Duchamp’s Étant donnés, Dracula... It is interesting and unusual for films to lose us at sea. Thank you, MUBI.
Transgressive cinema that tears at the fabric and nearly succeeds at shredding the frame. Nearly. You can feel that it wants to go too far - and some may feel it does- but pulls back/falls short too often. Still 5 stars for daring to try. You couldn’t make this in America, you’d never find actors brave enough.
At first, I thought "Wow, this is great". I love sexuality in Cinema and I love Breillat, too. As it went on I started to feel that all of the philosophizing about sex & gender roles was rather sophomoric, and the intended transgressiveness wasn't so edgy as it pretended to be, not to my jaded sensibility. The analysis of Tampax as a representation of patriarchy is a bit over-the-top. But I'm glad she made this film.
It’s curious how people get bored by “too much talking” in Catherine’s movies. I don’t believe that words can convey our internal world in a precise way (Catherine expresses this same idea in her movies, although she makes use of words infinitely). But have the patient to listen to “all this talk”... The man, by listening to the woman (not only by watching her), learns about his own nature, his violence and fears.
Duh, offer 20k to sit in a room with a beautiful nude woman about sex for 4 nights in a row, with no limits. Henry Miller thinks this is heaven. Do we forget Borowczyk? Pretend we know de Sade? Notice no words on the second night? Even the ending recalls de Sade. Lost in the current 2-10 minute porn scene is foreplay, it should not offend anyone. I can’t wait for Sex is Comedy. MUBI does it again, like film school.
Some parts a long fucked up perfume ad on it's ambiguity, other parts an art house porn, other parts a useful direction on the use of tampons all the while laying down the script of the misogyny of women and all their faults. And then a handheld garden hoe is shoved in her pussy while she's asleep and I ask myself how to interpret this? Clearly there's a deep meaning towards the use and storing of garden equipment.
And then she said, I really appreciate what you're trying to do there, but I don't think this is going to work. You have to admire his efforts. This film couldn't be made in America. It would immediately get an X rating and not be shown. Even the porn industry wouldn't like it. Too much talking.
Could have been an astonishing film, but although in cinematic terms Arvanitis' camera provides ample pleasures, the directness with which Breillat treats the purity/pollution (danger) binary code of sexual morals proves damaging to the film's impact. Impressive are the childhood reminiscence scenes and the theological underpinnings (Bataille) are evident beyond the obvious symbols. Porn subverted, not sublated.