Truly worthy of being the most controversial female director in contemporary France, Caterina Brea's tenth film is indeed shocking and bizarre. She herself said this: "This is a full stop in my creation of similar films. , and the subject of sex and women's desires has come to an end." If she'd kept her word, thank goodness. Brea's most famous work is [Romance], in which the sheer number of close-ups of the genitals has already terrified the most unrestrained French critics ever in this area - and audiences are never afraid of it. , the thrill is massively escalated in [Anatomy of Hell] to a degree extreme enough to embarrass everyone—and the lurid realism of the [irrevocable] rape scene pales in comparison. Those unforgettable shots are hard to describe. What you need to know is that in addition to the extreme exposure of organs, there are many more shocking, rather than stunning, shot ideas.
Brea's film explores more than just women's deep sexual consciousness, her primary purpose is to constitute a provocation, or dialogue, with men. Before the film was fully released in France, Brea was ready to fight with the critics to the end. Unfortunately, this battle did not really start, because the critics adopted the most effective and lethal strategy: ignore it. Breia murderously waved the biggest banner of her feminist wars, but in the end did not get any chance to confront mainstream commentary. Is this her luck or misfortune? In this film, Breia's biggest question is: Why are men inherently misogynistic, yet unable to overcome their desire for women? Or it is also true in reverse, that is, why men are naturally full of desires for women, but cannot overcome the disgust and contempt for women in their bones. Brea has been devoted to researching the real dilemma of women's internal and external difficulties. In this kind of intricate relationship, men are always an insurmountable obstacle. She stubbornly believes that men don't really understand women, and they don't bother to understand, they despise women in their bones, and this contempt stems from fear and shame. So she made up the bizarre story of the woman paying men to learn "what a woman is."
The heroine in the film is a very beautiful woman. At the beginning of the film, she cuts her wrists in the toilet of a gay bar. A handsome gay man saves her, so she invites the man to spend four nights with her. Afterwards, they spent four thrilling long nights together in the wooden house on the sea cliff, and the man began the painstaking exploration of the woman under the guidance of the woman. In the end, he completed a process from completely rejecting women to initial recognition and penetration of women's bodies, to understanding and sympathy for women, and then to terrified self-recognition, triggering deep fear, and finally killing the woman in a trance. The whole process. This complex physiological and psychological process is choreographed similar to some kind of secret religious ceremony. However, the effect Breia wants to bring about is not the salvation and forgiveness pursued by religion. On the contrary, she wants men to "consciously" know To the great paradox of itself - since ancient times, men have always longed for the approval of women, and at the same time, they have extreme and collective contempt for women's dignity; men deny women when they cannot conquer women, and men also deny women after conquering women. Women; are men afraid to face women, or are they themselves? This is indeed an interesting question.
As a movie, [Anatomy of Hell] is very unsuitable for public viewing, but as a proposition, [Anatomy of Hell] is worth watching. Breia's extreme expression methods may be unacceptable to most audiences. The naturalistic depiction of female organs in the film is by no means different from [the realm of the senses]. She magnifies the "physiological" side of women, and through this magnification and refraction Some kind of absurdity. However, it is difficult to say that Brea also showed her own identification and sympathy for women at the same time. Her naked dissection of the evil of human nature is probably a kind of evil in itself. Breia lacks the root pain of a master artist, she lacks a broader and deeper pity, and her stubborn attitude is itself a fiasco.
The most fascinating thing about the whole film is the uneasy (unknown) atmosphere it creates. In addition to the confrontation between a man and a woman in the house, this atmosphere also has a suitable performance, that is, the roaring sea under the night. Several quite thrilling nighttime seascape shots in the film, regardless of lighting, recording or camera position, are first-class. The mystery, ferocity, horror and infinite vastness of the tides perfectly match the plot and set off the theme of the film.
Keywords: female sexual awareness, sexual torture, writers' films
Brea's film explores more than just women's deep sexual consciousness. Her primary purpose is her desire to constitute a provocation, or dialogue, with men.
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