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Demonlover (2002)

5.8
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Ratings: 5.8/10 from 3,593 users   Metascore: 64/100
Reviews: 66 user | 66 critic | 28 from Metacritic.com

Two corporations compete for illicit 3D manga pornography, sending spies to infiltrate each other's operations.

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Title: Demonlover (2002)

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4 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Hervé Le Millinec
...
Elise Lipsky
Dominique Reymond ...
Karen
Jean-Baptiste Malartre ...
Henri-Pierre Volf
...
Edwin Gerard ...
Edward Gomez
Thomas M. Pollard ...
Avocat américain
Abi Sakamoto ...
Kaori - la traductrice
Naoko Yamazaki ...
Eiko
Nao Ômori ...
Shoji
Jean-Pierre Gos ...
Verkamp - Contact Diane
Julie Brochen ...
Gina - Amie de Diane
...
Ray
Alexandre Lachaux ...
Erwan - Broker #1
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Storyline

Diane works for a French firm bidding to purchase a Japanese animation outfit. Diane maliciously hatches a plot to take the job of her supervisor Karen. The plan succeeds, but then Diane faces problems when a competing American firm, represented by Elaine, becomes involved. Diane's assistant Elise remains loyal to Karen, and she frustrates Diane's every move. When it comes to light that the one of the concerned parties controls an Internet site which broadcasts actual torture, the plot thickens. Written by Ken Miller {wkmiller704@yahoo.com}

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for strong violence, sexual content and some language | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

| |

Release Date:

6 November 2002 (France)  »

Also Known As:

Demonlover.com  »

Filming Locations:

 »

Box Office

Budget:

€7,032,000 (estimated)

Opening Weekend:

$39,284 (USA) (19 September 2003)

Gross:

$231,756 (USA) (23 January 2004)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (unrated) | (R-rated)

Sound Mix:

|

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The prêt-a-porter featured is from a Fred Sathal collection and is credited along the movie and video game extracts featured. See more »

Quotes

Hervé Le Millinec: I saw you move. I saw you with Volf.
Diane de Monx: What did you see?
Hervé Le Millinec: How you operated. I admire you.
Diane de Monx: You didn't see anything. No one sees anything. Ever. They watch... But they don't understand.
See more »

Connections

References Videodrome (1983) See more »

Soundtracks

Could've moved mountains...
Written and performed by Thee Silver Mt. Zion memorial orchestra & tra-la-la band
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User Reviews

Ghosts In the Machine
4 October 2003 | by See all my reviews

One of the great things about the French is their interest and promotion of THEORY. Sometimes when theory infiltrates Art in too direct a manner the results can be boring or pretentious. In the case of demonlover neither is the case yet the end product doesn't measure up to its individual parts which are brilliant. Suffice it to say this is not a movie for the squeamish or for fans of the character building qualities of a life in business. What the film shows is how much of a construct modern identity is; how much it depends on role, on possessions, on our relationship to the pecking order of whatever tribe we find ourselves in. The film also suggests that the price we pay for hanging on to this fragile identity is nothing less than the seeds of our destruction - a doorway in fact to depression, madness and perversion. Lastly, the film is a devastating look at the way big media corporations hide their involvement in anti-social projects under the veneer of 'just business' or, if they went to the Harvard Business School, 'shareholder value'. Its a rare thing to make an interesting movie with NO sympathetic characters but demonlover achieves this. Many complaints have been launched against the incoherent plot, but the fact is that the plot is not incoherent at all, it just lacks credibility which is a different matter altogether. But no matter: its still an interesting take on a very real set of contemporary circumstances. The performances are also quite compelling which suggests that no matter how dubious a character's morality is, if she's beautiful we (men, that is) will hang on her every word.


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