Tag: France

CONTEMPT (1963)

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Directed By: Jean-Luc Godard

Written by & based on the novel “IL DISPREZZO” By: Alberto Moravia

Cinematography: Raoul Coutard

Editor: Agnes Guillemot 

Cast: Jack Planace, Brigitte Bardot, Fritz Lang, Michel Piccoli, Giorgia Moll

A French writer’s marriage deteriorates while working on Fritz Lang’s version of “The Odyssey”, as his wife accuses him of using her to court favor with the film’s brash American producer.

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Tortured Myself again, by watching another Jean Luc-Godard From my Criterion Collection, sight unseen.

I know how dour that already sounds. You just have to know that me and Jon Luc Godard films have had a love-hate relationship. I have actually liked and enjoyed some films that I didn’t expect while other films that are considered classics I found rather boring noteworthy for different reasons.

I like the ideas of Jean-Luc Godard, in his style though the films not necessarily as much at times they work, but usually not at least for me as they become statements which might have worked at the time as bold but now come across as pretentious, cinematic, theatrical games, there is a living quality to them in an absurd quality, as they are usually quite beautiful, but leaves the audience lost to find their own way, which is commendable, if not having

I will say watching the movie is like reading a classic book you don’t like and wonder why so many do as it feels more like an assignment that you’re determined to finish 

This is one of those movies where you’re going to come up with your own theory or understanding of it so I’m only gonna present my interpretation.

Now it’s always entertaining watching a younger Jack Palance in a film, as well as young women, riding bicycles in skirts. Though watching Fritz Lang steal the movie in his scenes was worth it

It is another movie of Brigitte Bardot being torn supposedly between Teague lovers neither of which is seem a good choice, but one is better than the other and her never having chemistry who is the one who is older, has more money and seems more want her only physically.

This film is a satire film making, but it seems to turn more into a domestic drama romance of a deteriorating marriage.Even as it explores the themes of selling out or staying, true to your principles.

That was it’s a beautiful locations still end up being a hang out movie that is in the middle of paradise yet everyone is oblivious to the beauty of their surroundings or they’ve been there so long that it is normal to them, though the film still manage to showcase the beauty and appeal of Brigitte Bardot and it seems like while everybody in the film can see her beauty she is like the background to them. They’ve grown so used to her that it’s normal, but will still contest her. Well, the film and filmmaker bathe her and loving light as well as give her a meaty challenging role. Though questionable if you might actually like her by the end

One can say that at least she gets to play full character other than just a fantasy or an object of beauty pretty much a bombshell, though she does Grace the poster, so it she did help sell tickets for this phone as next to Jack Palance she’s the biggest name in the film and of course Fritz Lang. No, she seems to be the entrance or introduction for us to the Phil as the camera lingers on her

Throughout the film, we see the games that all the characters seem to be playing weather in love relationships filmmaking financing.

Now one can see where Martin Scorsese got part of his score of CASNO from. It gets  annoying a bit at times watching its source play throughout. The score “ST. MATTHEW PASSION BMV 244/PART TWO: WIR SETZEN UNS MIT TRANEN NEIDER”’By Johann Sebastian Bach 

Which leads me to wonder Did he use it to subconsciously say that all these characters are in this Idyllic Wonderland in that they are alienated from it due to mounting domestic pressures & alienation from one another

Didn’t expect this to become one of Godard Morchella Ching films even though it’s seams like most of them are as the film deals with alien nation. It almost feels more like a Michelangelo Antonioni film only no not as long, and this seem to have more of a cruel, ending the natural ending.

In the end, I have no problem, admitting maybe I didn’t quite get it as much as others did as I loved the concepts and drama that was introduced that lead to discussions and conversations even after you watch the film no again I can’t say I enjoyed it, or necessarily would need to watch it again

LORNA’S SILENCE (2008)

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Written & Directed By: Jean-Pierre Dardenne & Luc Dardenne 

Cinematography: Alain Marcoen

Editor: Marie-Helene Dozo

Cast: Arta Dobroshi, Jeremie Renier, Fabrizio Rongione, Alban Ukaj, Morgan Marinne, Olivier Gourmet, Anton Yakovlev, Gregori Manoukov 

Lorna, a young Albanian woman living in Belgium, has her sights set on opening a snack bar with her lover Sokol. In order to do so, she has become involved in a scam conducted by Fabio, a gangster.

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A good old fashioned film noir. it’s from explorers the fringe of a criminal underground and has the groundwork of a film noir that plays dark and realistic.

Then, when you think something positive is going to happen in the film, it reveals itself only to sing deeper into the darkness.

Here the femme fatale is the anti-hero of the film. She’s trying to do what she needs to do but isn’t as coldhearted as she would have everyone believe.

She is caught in a situation that should be easy for her to handle which morphs into a no-win one.

What makes this film feel different is that for all the traditional roles the characters play like the mole the mark the femme fatale the mobster the film doesn’t treat or show them as cliché or clueless. It makes them full three-dimensional characters

Wish I could say the film is a Home-run, but it’s not that it isn’t worth watching and the first film by the Dardenne brothers That Is really enjoyable in quite some time. As one haven’t really like any of their films that much since ROSETTA.

Though this one lends itself more to genre then their other films and seems a bit more cruel. then their usual humanist films. 

Grade: B

PORN THEATRE (2002)

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Written & Directed By: Jacques Nolot 

Cinematography: Germain Desmoulins

Editor: Sophie Reine

Cast: Vittoria Scognamiglio, Jacques Nolot, Sebastien Vala, Arden Bajraktaraj, Olivier Torres, Lionel Goldstein, Frederic Longbois, Fouad Zeraoui

A tale set in a decaying Parisian porn theatre, where within its dark confines, male patrons–soldiers, transvestites, married men–regularly engage in anonymous sex acts. In the ticket booth of the theatre, a wise Italian woman serves as benevolent gatekeeper, observing–but never judging–the proceedings occurring under her watchful eyes. One day, one of her regulars engages her in a conversation that leads to an unusual friendship, as these two worldly souls share their common experiences.

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The film takes place entirely in a porn theater hence the title focuses on the day-to-day actions mostly of this theater 

This French language film is similar to SERBIS and even GOODBYE DRAGON INN. 

It revolves around a movie theater, its workers, and its audience. We get to see the ins and outs of the theaters, literally as well as the various patrons, most of whom are recurring, who all have their own little side stories that we get into but don’t overtake the narrative.  

The only difference about this film other than the other two is this one has a lot more homosexual sex involved throughout it simulated but it’s basically where men are watching a straight adult feature, but hooking up with one another as well as male prostitutes, cross-dressing, prostitutes, and one another.

Though the film does go for shock and intimacy throughout. 

The film will show interactions and even some sexes, but then become very philosophical about the life experiences of the characters 

As we get to know the audience and the regulars, as well as the staff, which is truly only the projection is the owner who works at the ticket booth 

The interactions are really where the interest of the film comes in. It’s the meat of the story. 

The film displays openness, and honesty though what will throw some off is the lack at times of sexual scruples and probably the action 

Even though they’re watching a movie, where they seek to hide their kinks to only be kind and open to those who are strangers in the dark like them. We are the voyeurs during all of this and spying on them at their most vulnerable

The film at times can be perverse human touching and sad. It is not for the prudish or repressed and especially not for homophobic.

The film offers an interesting dynamic of how the owner hates and treats the homeless who she sees as junkies and lazy, but is nurturing to her audience

The film offers a glimpse of how the customers are treated by the outside world when the cops come in to check that nothing illicit is going on how they are treated and the comments they make to them and about them.

So that this theater is not only a hotspot but its kind of universe or considering it’s not that big maybe just its planet . As is this offers plenty of glimpses, but essentially seems more about representation and an ensemble cast.

A Testament to a location in the souls that inhabited that helped define it

Grade: B 

LOVE IN THE AFTERNOON (1972)

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Written & Directed by: Eric Rohmer 

Cinematography: Nestor Almendros

Editor: Cecile DeCugis

Cast: Bernard Verley, Zouzou, Francoise Verley, Daniel Ceccaldi, Malvina Penne, Babette Ferrier

The last of Rohmer’s Six Moral Tales. Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

Though I knew most of the story beats, the film actually still lives up to the hype and still feels like a revelation as it is one of Eric Rohmer’s six Moral tales and I’ve only seen one previously. This definitely fits alongside it and is memorable.

Chris Rock’s version Is more gag-filled. You could see where there could be room for a bit more humor while trying to take a realistic look at a man in midlife crisis, not in a bad marriage but in a marriage where he’s standing bored and here comes temptation. Both versions are focused on a single narrative where things happen to shape the films and have a full cast. Though what allows the films to prosper is that no certain story ever rears its head, allowing the film to seem more random 

Zazou is perfectly cast as she appeared throughout the 60s and 70s and in many films. This seems to be the one that is the classic that she is remembered for so she does have that bit of a one and done screen present square she is just a goddess in this film, but not, like a I can if anything he is more the tease in there bombshell, but someone beautiful, but you could also see her as normal and it’s not only about. It’s the way her character comes across with her personality and her matter at first it seems more like she’s playing and then she actually does have a plan and admit to her feelings so it doesn’t always feel like she’s trying to con him and he is more the tease in their relationship and intimacy as she seems usually willing and he’s the one who’s always backing away in the moment or at the last minute

The film does offer some genuine, sexy scenes without actually showing any physical sexual scenes, but just the intimacy, the longing, the heat, the sexual energy, sometimes the blocking angles imposing, just add up to making this film, somewhat erotic even when it’s not trying to

Though through all of this, the film never feels quite horny. It has a sophistication, even though it’s clearly identifiable mainly Moore bourgeois and also offers the difference between being free spirited and responsible, running away in a fantasy and dream, but I also having to wake up to reality and responsibilities, the difference between what we’d like to do but in the end might be best for you. 

Shot by legendary Nestor Almendros, one can understand why, though at times the film takes place in closed-off, tight spaces. It still feels vivid and quite visual, especially when it comes to the angles.

This film more or less feels like a lighthearted, sometimes funny look at a midlife crisis of a man dealing with fantasy, desire, love and responsibility. It feels like a more serious, but not as overwrought Woody Allen film in the early stages of his career, as this film came along around the same time, so deals with a neurotic main character who seems more laid-back and tries to play it a little more cool when it comes to life in his decisions, 

after all he is and this film has more of European sensibilities of having emotions, but not being as hung up at least noticeably or visibly dealing with things as they come. Not treating life and people as something of pure fantasy. At least that is what the audience is led to believe by the cinema and on-screen pictures.

It’s much more formal and nuanced than most films with the same situations. Thigh, then again to heighten as a thriller or comedy, and here it is more or less presented for the characters and audience to decide where their loyalties lie.

It’s another film that seems more a study or a discussion piece while having full characters and not so much on action. 

When it comes to the character of Chloe, you can understand the temptation, but she is a bit weird as she is obviously beautiful, but at times or angles, looks more basic or normal. I guess it’s her personality, attitude and demeanor more than anything. Even though she is obviously attractive in her own way. As she is like a Monet, looks better far away, up close you see more of the cracks or the resentment.

In certain scenes, the film offers a hint of skin, touching, and flirting as the character slowly gets closer, she even declares to be in love with him as she can have him at any time, but she wants. He obviously wants her but resists. So that it is a constant tango between the two of them is sexy and sensual simply, but not gratuitous

The film is a middle-aged male fantasy that is granted and presented with the drama of the reality of it, especially when having second thoughts.

The film was remade. I THINK I LOVE MY WIFE, which was more comedic, but I liked when I saw it in theaters. I saw that film first before I saw this one, so this film feels quite familiar. Where is that film feels more like a crowd pleaser, both films, the main character, the main character comes across as a tease. 

The film is like a Woody Allen film without so much of the comedy and a much smaller cast. We’re only the leads are allowed to make moments.

LE BONHEUR (*HAPPINESS) (1965)

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Written & Directed By: Agnes Varda 

Cinematography: Claude Beausoleil And Jean Rabier 

Editor: Janine Verneau

Cast: Jean-Claude Drouot, Claire Drouot, Marie-France Boyer, Marcelle Favre-Bertin, Manson Lanclos 

François, a young carpenter, lives a happy, uncomplicated life with his wife Thérèse, and their two small children. One day he meets Emilie, a clerk in the local post office.

There is no way I can talk about this film without spoiling it, so if you haven’t seen it, check it out first and then come back for the review.

This is one of those films where I could give you a simple review, but this film wasn’t made for that if you want the simple review, it’s good watching, though I’m not sure a lot of people will appreciate it or like it, but in a long-term sense.

This is one of those films that’s meant to be experienced, but also discussed as different people will see different things in it, and have different opinions about and touch subjects that most of us have experienced or have witnessed, and have definite opinions from our point of view that might not match the film’s

First off, this is my first Agnes Varda film, the celebrated late Director, so I wasn’t exactly sure what I would get. 

Most of this film is a happy-go-lucky movie, but as you get towards the end, that is when the films seem to present itself.

This is a tricky Film where everything no matter what happens seems happy though there’s a subversive current going through it as we see this man who is perfectly happy just starting fair and fall in love so easily with another woman, even though he’s in a supposedly happy marriage and we never see any signs of stress or boredom within it he is willing to give everything to his mistress who doesn’t seem upset that he’s actually married.

After we watch how he functions with his wife and his marriage, and then this affair starts and then around the end of the second act, he finally tells his questionable wife, consequences that we are never 100% sure of as it is sad that she has drowned, seems rather questionable as to maybe she decided to end her life, especially after he has informed her of his affair and then expects her to be OK with it and makes love with her and Field, like his actions were a mere Infraction that he will Keep Doing but the story goes along.

Even though he told his wife that he loved the woman and her both, he is willing to end the affair and just be with her, but if she truly loved him, she would let him continue as he can still love both of them equally as long as they love him.

This would seem like a film made by a misogynistic man who wants to come across as romantic and sympathetic, but actually made by a female Director, trying to present this with a bow, but also expose the hypocrisy involved becomes all the more disturbing and basically replaces his late white with his mistress and everything seems to go back the same, and he never pays any consequences. 

Never seems to show any sorrow and gets exactly what he wants, and there’s no confrontation. There’s no real drama, which gives the film a kind of sarcasm, as the film seems to just let this man get away with everything and never pay any consequences.

which was a reality at the time, and unfortunately might still be in most cases, but also the fact that it seems to be having a commentary on how romantic films of this type played under the male gaze, where the woman always suffers, in the man gets exactly what he wants here. It feels like you should feel outraged over this, but unfortunately, there are no real problems for the character and it feels like an injustice.

Grade: A – 

OUR DAY WILL COME (2010)

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Directed by: Romain Gavras

Written By: Romain Gavras and Karim Boukercha

Cinematography: Andre Chemetoff 

Editor: Benjamin Weill 

Cast: Vincent Cassel, Olivier Barthelemy, Justine Lerooy, Vanessa Decat, Boris Gamthety, Randolphe Blanchet, Camille Rowe, Josephine De La Baume, Jacques Herlin, Pierre Boulanger 

The outcast red-haired teenager Rémy is bullied at school and lives with his estranged mother and sister in France. The also red-haired psychiatrist Patrick befriends Rémy and helps him to release his repressed hatred and sexuality. When Rémy sees a picture of red-haired people in Ireland, he forces Patrick to travel with him to his dreamland.

I am a fan of Director Romain Gavras. His music video work has always been wonderful and arresting and always seems to have deeper meanings than what was natural to make movies and he has made quite a few. Some have been better than others, but none seem to have the strength of his music video worked, even though visually they are all strong. Unfortunately, this film is part of that trend.

This film Is an extension of the music video free for the artist, MIA the Director Romain Garvas directed. 

Where redheads are treated as second-class citizens the video was meant to be a commentary on illegal immigration and was much more violent with you and putting them in internment camps.

The film is a bit more dramatic and is a tale of a disaffected boy who is bullied and finds a companion in a social worker who is also tired of being treated as lower class in his days he sees others who are considered better or above him who act worse, so the two of them team up on a kind of crime spree him as the mentor Trying to make the young man violent and actually live and stick up for himself.

The film seems to say something about national pride and natural-born citizens because of their heritage being treated like they don’t belong and in effect, immigrants in their own country, only raised to a little more ridiculous level and still having a tinge of white rage and supremacist feelings.

These escapades include trying to make the boy realize which sexuality he identifies with getting into numerous physical fights, and not being afraid of violence, seems to get depressed at a certain point just as the boy hits his stride and vice versa at times.

Wow, this is certainly a visible film there are many times during the film that one wishes that it was a bit more like the music video a bit more exciting, and maybe something has a bit more of something to say rather than just feeling like an excuse for these scenes and certain characters Just to behave reprehensibly but have meaning behind them. 

It’s a film I wish brought the audience in more but seems to go off on its own path and on whims that I’m not sure it’s quite what the audience is looking for. It never offers easy answers and a few that it does offer seem a bit confusing or questionable.

Though maybe in the end, that is what the film always wanted for an audience that was looking for rage to be expressed through violence or some kind of shooting spree or thinking this film was just gonna be 90 minutes of pure anger and finding that the characters for all their anger for the most part while brave are mostly cowards And still have some of their humanity, no matter the indignities put upon them.

GRADE: C

Grade: C 

THE STRANGLER (1970)

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Written & Directed By: Paul Vecchiali

Cinematography: Georges Strouve

Editor: Francoise Merville

Cast: Jacques Perrin, Julien Guiomar, Eva Simonet, Paul Barge, Jaqueline Danno, Katia Cavaignac, Jean-Pierre Miguel, Helene Surgere, Sonia Saviange, Nicole Courcel 

Unhappy women are being murdered by Emile, a psychotic young man suffering from the delusion that his acts are mercy killings.

The title seems simple, but there is a deeper meaning, and this film proves to be so much more.

This might’ve been regular fashion back when it was made but everything feels so stylistic Maybe because, to a modern audience, it is so far and was made to feel that way. As it is a French Giallo that provides less mystery and violence and seems to be more about the setup

The first kill in this film seems like the victim, experienced it, and welcomed it. It comes off as stylish and fetishistic in a romantic or erotic way

And choosing his victims, the title character it seems like they welcome him and aren’t surprised last encounter liaison or fling before the end so that it’s almost romantic and putting them out of their misery or granting a last request.

Which ends up setting the tone for the film as a romance yet not a love story 

Almost like his actions are doing the victims of favor, as they are suicidal and feel they have no reason to live anymore. He offers assistance So they don’t do it themselves. Or go through the experience alone, nor have to worry about depending on their morals or beliefs going to hell, necessarily if religious

The victims, female, fashionable, and gorgeous, and presentation before their last breaths

The choreography of the floor show of one victim’s death scene is memorable and a delight, its style or international attitude and ideas.

The film can be drilled yet makes much out of a little and remains truly unforgettable, as well as an underrated gem that can easily throw an audience a bit of valance as the film goes on. We get to know the victims a bit more as we see the melodrama with each new one giving them, brava last scenes of their character’s last moments

We never see the actual kills only the before, and a bit of the aftermath to know that the deed was done

Wow, also witnessing the investigation of the case buying adults, Nancy, Drew, the character, and the police captain who start a kind of romance or at least a relationship hence toward romance

We watch as the killer gets upset as someone perverts his act of mercy per se by following him to the crime scenes and then stealing from the victims, making it seem like the killer’s motives are more about material gains making his gift seem  more common and presents a rivalry

Victims come off as if they feel forgotten or betrayed by the world, or maybe just betrayed by a man or lover, and they will finally be immortalized and die and finally get attention special before the end. This desperation makes them feel sparkling before putting them out of their misery.

Presented as glamorous the Weathered it feels like a Hitchcock film as it has it set pieces that are usually the murders that come off as artistic and depth at times. As the film plays, Layfair and laid-back, not too concerned or drastic despite the actions and the film’s move.

When it comes to Giallo there is a certain beauty it provides it showcases. One of the reasons I like them is that they know how to present the female characters stylishly, sensual, gorgeous and fabulous. Like screen sirens. Sexy for sure but not cheaply classy and less exploitive all about beauty. They feel like women Of class and culture. It’s presented more as normal not necessarily down to earth. Special in fact but somehow normal and approachable

Amongst the crowd with Imperfections seemingly edited out. 

The Death scenes feel like little short stories that offer glimpses of life lives and characters are given more dignity and death than might’ve had in life

They are double-crosses as the thieves seem to turn to murder groupies with funny emotional moments of turmoil as the third act is dragged out, but has plenty of beautiful moments

The film is more than just its simple title. This Gallo is a weird romance of the killer, granting his victims, and lovers wishes and making them feel special. Laissez-faire laid-back look at the serial killer and the investigation around his killings. That seems to be in no rush and strives to be more artistic than surprised filled or a procedure, except for a random dream sequence. The film is never exploited but creative and its simplicity is not so much a psychological study nor a thriller

The synopsis seems conventional, but that’s the film’s artistic aim. It has mainstream scares with deeper meanings and emotions in between that get confusing at the end and make it more cultivated.. there is also a boom mic visible in the final scene

The murder towards the end seems to be out of a discussion with the society around him, which is depressing as even the film feels like it betrays itself towards the end. There is even a boom visible in the final scene 

The film also has a great score 

Grade: B+

DOBERMANN (1997)

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Directed By: Jan Kounen

Written By: Joel Houssin

Cinematography: Michael Amathieu

Editor: Benedict Brunet and Eric Carlier

Cast: Vincent Cassel, Monica Bellucci, Tcheky Karyo, Romain Duris, Antoine Basler, Dominique Bettenfeld, Francois Levental, Ivan Marat-Barboft, Pascal Demolon, Marc Duret, 

The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost.

This film is definitely a byproduct of the 1990’s. It had plenty of energy and played like a hyper-Tarantino crime tale with way more action. That seems like it retains a villain more over the top than the anti-heroes.

Actually, it plays more for an audience who loves Writer-Director Quentin Tarantino’s films that take too long and are too slow to get to the action. Even though this film builds over its running time to a big climax filled with tension. 

The film feels like it is on drugs at the speed it goes through and lacks certain details. It feels cruel in a sense yet tries to be fun In other ways.

Tchkey Karyo is way over the top and means just to be. Think Gary Oldman in THE PROFESSIONAL, but miles past him in strangeness and chewing scenery.

Though that is the main problem of the movie is that there seems to be a lack of motivation or explanation for most of the characters or much of the action. Half the time it seems random or as a result of an extension of a character.

As it is based on a graphic novel, maybe it is better explained in the source material. As here it seems to be a greatest hits quality. That plays exactly like a comic book in feel and texture. Even though the supporting characters are quirky and have their defects. They carry the film over more. As the leads seem there more to look cool.

While it’s nice to see Vincent Cassel and then wife Monica Belluci together and in love on screen. Even Belluci seems to do more acting than Cassel here as he seems more to be the lead and there to look cool and be a mastermind over all else.

 it feels like a down-and-dirty popcorn movie. That would have gone even further in popularity if it had a better soundtrack. 

It’s a film that is a nice try as it is stylish all over the place, but once you get over it. There isn’t much there except to wonder. If the director had better material would this be much better? 

Grade: C

TROUBLE EVERY DAY (2001)

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Directed By: Claire Denis
Written By: Claire Denis and Jean-Pol Fargeau
Cinematography: Agnes Godard 
Editor: Nelly Quettier 

Cast: Vincent Gallo, Tricia Vessey, Beatrice Dalle, Alex Descas, Florence Loiret-Caille, Nicolas Duvauchelle, Raphael Neal

Shane and June Brown are an American couple honeymooning in Paris in an effort to nurture their new life together, a life complicated by Shane’s mysterious and frequent visits to a medical clinic where cutting-edge studies of the human libido are undertaken. When Shane seeks out a self-exiled expert in the field, he happens upon the doctor’s wife, another victim of the same malady. She has become so dangerous and emotionally paralyzed by the condition that her husband imprisons her by day in their home. It is Shane’s chance encounter with this woman that triggers an event so cataclysmic and shocking it might just lead him to rediscover the tranquility he seeks to restore for himself and his new bride.

Not going to lie, the whole reason I wanted to see this film is Beatrice Dalle. Who has had me captivated since her role in Jim Jaramusch’s NIGHT ON EARTH and have been catching up with her roles from the past to the present ever since.

So it was her being in a vampire film before that seemed to become a trend In The 2000s and also Vincent Gallo is in the film and he usually makes whatever he is in a little more vibrant and interesting.

This is a movie that tries in modern times to present a fable connecting vampirism to lust. The character played by Beatrice Dalle is insatiable and seems to constantly need to feed. So much so that she has to be kept locked up and away. As she is a beast that Can’t be contained. Her raw female sexuality comes out while she gets her prey by seeming more innocent yet confident in her sexuality.

She is sloppy, scantily clothed in a nightgown stained with blood like an animal but she still contains beauty.

The longing for blood comes across as more sexual with an extreme fetish the participants only find out about too late. 

Vincent Gallo is her old lover who has moved on and has a younger wife. He has been able to contain his vampirism and come off as a regular Joe. Though he is drawn back to her. Even as she has a husband who never quite knew what he was getting into, but accepts his responsibilities and tries to help the love of his life in his own way. Hoping she will become satisfied and normal. 

The film is brutally violent and contains a lot of anticipation that never quite lives up to the promise. 

However, it does show a romantic side as in the scene where Dalle’s husband is cleaning the blood off of his feral wife after she seduces and attacks another victim. Shows a devotion that goes above and beyond. He loves her so passionately that she eats her partners. He supports her. Even as he knows he can’t be with her intimately or it will be the end of him. He also knows and worries about who will take care of her if he leaves or something happens to him.

As he knows no one will be as devoted. Yet he continuously longs for her and has made his own kind of sacrifice for her. The epitome of a nice guy. Who does everything but doesn’t have that spark and still wants your old lover who you both were bad for each other but still carries a certain bond. 

The film leaves you in the audience to pick up on details and read into the film what you believe may or may not be true. 

We watch as their acts are made attractive and delectable. More part of the act of pleasure that goes along with it.

I’m not going to lie, this was my first time watching a Claire Denis film. So I didn’t know exactly what to expect. So by the end, I was disappointed immensely and a little confused. Since then I can’t say I have watched much more of her work. I believe only two other films. Only one can I say I truly was mesmerized by  35 SHOTS OF RUM

Ultimately the film’s promise seems wasted. As we wait for major parts of the story to move or more action that never seems to come.

Nor is any of the setup really acted upon dramatically. As it is never touching or moving really. Unfortunately, it comes across as boring and like it wants to mean something and say something but ultimately doesn’t.

Grace: C-

MANDIBLES (2020)

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Written, Edited, Cinematography & Directed By: Quentin Dupieux

Cast: Gregorie Ludig, David Marsais, Adele Exarchopoulos, India Hair, Romeo Elvis, Coralie Russier, Bruno Lochet, Raphael Quenard

When simple-minded friends Jean-Gab and Manu find a giant fly trapped in the boot of a car, they decide to train it in the hope of making a ton of cash.

This film should have worked. One really wanted this one though unfortunately can only point out a few highlights that help the film stay watchable.

It’s a buddy comedy along the lines of DUMB & DUMBER with a little crime narrative of THE BIG LEBOWSKI and involving a gigantic fly that the two friends try to use as a pet and a way to riches.

Somehow doesn’t exactly connect with an absurd plot element that should have been the highlight of the movie.

Instead, the saving element of the film is actually the performance and character played by Adele Exarchopoulos who is hilarious and only in the movie for 30 minutes. Even though the movie is under 90 minutes. Once she arrives she is what the movie needs and once she leaves she is definitely missed. The energy of the film seems to go with her. You wish that the film had mostly been based on her character 

Which shows that the movie’s humor is more character-based. That should be more the inspiration, though that feels like the only genuine spark of originality of that kind. The main characters are boring and the one fantasy element becomes common so fast. That it feels cheapened. 

The film then seems to settle into punchlines of Jokes that were set up earlier.  

You can tell the movies the film was influenced by. As truly the comedic elements here are the more out-there elements such as the big fly and the brain-damaged woman. Who is suspicious of them? Yet the so-called regular characters believe they are stupid but okay.

In the final act, the only true comedy is their delivery and what it ends up being. That feels like much ado about nothing.

Grade: C