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Isaach De Bankolé,
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. Written by
A Film Like A Person Threatening You Who You Thought Was Kidding But Is Really Serious
From what I've read of him, I do not like Vincent Gallo as a person, and he often physically repulses me. In Trouble Every Day, he does physically repulse me more than ever, yet I do not dislike him in his role. What I must say impresses me about Gallo is his ability as an actor, including performances under his own writing and direction, to play roles devoid of any of the ego that he defensively projects what I've read of his off-screen life and that are crippled by hopeless insecurity and apprehension, which he showcases without a hint of inhibition or unintended uneasiness. That is why I believe he continues to find work in movies in spite of the unbelievable amount of projects from which he was fired or walked away, the amount of people he claims to hate, and the mind-blowingly infuriated critical and audience reaction to his sophomore effort at the helm, The Brown Bunny. All-embracing filmmakers see him as one of the very few actors who has no problem baring himself for a performance as a truly pathetic character. In this film, he is honeymooning with his wife in Paris superficially in an effort to nurture their new life together, however the core reason is so that he can visit a medical clinic where studies of the human libido are undertaken. He hopes to rid himself of the bloodthirsty urges that have always plagued him.
The real shock found in this film is my surprise introduction to Beatrice Dalle, who I have never before seen in a movie and near whom I hope to be wearing football gear inside the Batmobile if I ever see her in person. As a doctor's wife who is psychologically in ruins due to a mysterious overextention of her libido and is too dangerous for her husband to let her free from the bedroom during the day, she reaches as deeply into the most basic appetitive animal instincts as she is capable and plainly ensues as a nightmarish monster of berserk chaos. It was clever of writer/director Claire Denis to cast two notoriously wild atypical people of extremity in their roles.
Denis's scenes of gore, which due to her focus on the morose feelings of the characters, mainly Gallo, his wife, and Dalle are intermittent and often difficult to anticipate, are extremely disturbing. During a scene where Dalle attacks a person's flesh as they lay in shock, barely able to scream, the sounds made by both Dalle and her victim are heard just barely over the glum, cheerlessly jazzy score. In the other scenes of violence, Denis's wise discerning between the appropriate placement or absence of music asserts a very moving outcome.
Though I was expecting a grittier cinematographic delivery, the film is stirring, well made, and metaphorically interpretable.
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