The "Irrevocable" by Argentine director Gaspar Nou, who has lived in Paris for a long time, was a surprise, and made me call it a bad movie.
This "Love" (3D·2015), in my opinion, is better than the former. Although "Irrevocable" has "sexy goddess" Monica Bellucci and stubborn Vincent Cassel co-starring, it is too experimental and annoying. Lively and fragrant, in fact, is very particular, not something that can be taken for granted overnight. The poster of "Love" alone, the close-up of the crimson mouth-to-mouth kiss, makes people drool.
"Love" excels in color, psychedelic and artistic poetic emotion. Sex under emotion is itself a poetic product of ecstasy. On New Year's Day, Murphy woke up with a nightmare. "Who is looking for me? It's been two years, and I seem to have another wife." From this, "Murphy's Law" is triggered: "If anything can go bad, it will. I hate the life of pigs, who brings children". Whoever brought the child means that he caused his girlfriend to become pregnant for the second time, but he did not know the direction, as if in sleepwalking. This reminds me of Memento. But I was wrong, actually, the director was playing a sex game.
From beginning to end, the film flashes back to his past emotional life with Murphy murmured in a daze. From the United States to the colorful Paris, as a photographer, Murphy met Prius, the two lived together, and then met the 17-year-old female neighbor Mariel. The three played a limitless, thrilling and adventurous game The three-P sex game.
At the beginning of the film, it is this kind of love mirror, which makes people a bit abrupt, but is surprised by the gorgeousness and delicacy of the picture. The film has at least half of these sex scenes. Not limited to beds, karaoke halls, bathrooms, stairwells, etc., they are all places where they can turn clouds and rain. The picture that flashed back was that Murphy kept berating himself in the voice-over, such as "I'm a loser, the only bad person in this world". This also shows that the director is poor at narration and lines. Narrative is not his forte. People always have limitations, but fortunately he knows how to make use of his strengths and avoid weaknesses.
To be fair, after so much sexual agitation, the narrative is somewhat downplayed. The director's cleverness lies in his creative desire, which is only to make a jaw-dropping video, not a good-looking drama. Fantastic photography like The Tree of Life. The sex scene in this film really made Lars von Trier's "Sexual Addiction" and that "Adele's Life" also resigned. The various sexual dramas in the form of monsters, multi-dimensional, multi-level, and even photographic photos are used together, which is a false alarm and gives people goosebumps.
Love is just an excuse. There are also many possibilities for the film, which seems not to be false. It's just that Gaspar Noh's next film has to tell a good story, or continue to insist, and it is not a direction. Minors enter with caution. In a country of classified creative freedom, this is not a sin.
Movies are inherently a polyhedron, and various genres are presented together in order to evoke the various tastes of the audience. As Tindu Ballas has done all his life. But artistically speaking, Gaspar Nou is far more than the funny Tinto Barras, no doubt about it.
2015, 11, 18
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