Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.
The Butcher (known from Noe's short film Carne) has done some time in jail after beating up the guy who tried to seduce his teenage mentally-handicapped daughter. Now he wants to start a new life. He leaves his daughter in an institution and moves to Lille suburbs with his mistress. She promised him a new butcher shop. She lied. The butcher decides to go back to Paris and find his daughter. Written by
Pavel Smutny <firstname.lastname@example.org>
It is the second piece of the mini series of Noe. First one which is called 'Carne' was produced in 1991. See more »
The main character tells the manager of the abattoir that he is 50 years old. However, the narration at the start of the movie states that the main character was born in 1939, and the movie is set in 1980, which would make him 40 or 41 years old. See more »
Most women are poor creatures. Being without a cock, the only way they can feel strong in front of a man is to betray him by latching on to another cock, especially when it's got more money. The part i like is after stuffed her snatch her prince charming dropped her like stinky cheese. She acted like filth, but she was smart enough to admit it. The past always catches up to you. You always end up paying for your acts. And if she threw herself in front of a subway train, it's not my fault. She ...
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Stunning. The writer-director Gaspar Noe's first-person account of a jobless butcher's trip on the down escalator has a lot of superficial resemblances to TAXI DRIVER, but the real unseen hand behind this shattering picture belongs to Louis-Ferdinand Celine, whose scabrous stream-of-consciousness monologues Noe has translated into scorching, nineties angry-white-man-ese. As the butcher's three hundred francs dwindle, and his handgun starts looking more and more appealing, Noe surgically implants us inside the antihero's head using a cascade of hilarious and horrifying nihilistic rants that don't quite resemble anything you've ever heard in a movie.
Noe's ingenuity in reinventing the subjective style of TAXI DRIVER is near-limitless; his array of techniques dazzles, from the Godardian intertitles that break the action like a butcher's cleaver hammering a wooden cutting board, to the deafening gunshots accompanied by digital pans and zooms that throw a Brechtian bucket of icewater on the proceedings whenever they calm down. At times the picture suggests one of Fassbinder's fatalistic fables staged as a William Castle horror movie; in a stroke of genius, Noe conceives of the inevitable crack-up finale not in terms of some novel spin on the image, but as a blizzard of scurrilous language--a head self-narrating to the implode point.
At times, the butcher's and Noe's nihilism seem to be one--and a posturing, collegiate nihilism it can be. And the penultimate section of the movie thunks along as Noe recreates painfully familiar scenes from TAXI DRIVER almost in toto. But the cumulative effect of the movie is lacerating, the way early Scorsese and Toback must have felt the first time out. French-language cinema hasn't gotten this kind of wake-up call since the (lesser) MAN BITES DOG.
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