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One of the most hotly anticipated films of Cannes this year was Gaspar Noé's "Love," It’s only the fourth feature in seventeen years from the enfant terrible behind “Irreversible” and “Enter The Void,” and insofar as it's a 3D drama revolving around unsimulated sex, the film had the potential to be his most controversial picture yet at its midnight bow on the Croisette. And yet, as with so many instances of "serious" filmmakers tackling matters below the belt, the effort proved to be less of a mind-blowing, all-night marathon, and more of an underwhelming, unsatisfying quickie behind some garbage bins. The new film by the director (who’s no stranger to for-real on-screen fucking, having featured such in various forms in both “Enter The Void” and his short in art-porn anthology “Destricted”) is in many ways a conventional romantic Bildungsroman, as American-in-Paris Murphy (Karl Glusman) gets a phone »
- Oliver Lyttelton
Trying to capture global trends in contemporary filmmaking by drawing thematic connections between films at the same festival has long been a hackneyed technique that little understands the variable pathways it takes for a film to get made and eventually programmed alongside another. Once one knows more of the tortuous route most filmmakers follow to finish their work and get it shown, the tendrils of affinity or dissonance snaking between theatres and screenings at a festival feel less like a glimpse of the zeitgeist and more the electric charge of coincidence—or fate.Such was the case in Cannes this year, where two films seemed to meet in a sensual, overlapping dream of flesh, caresses and orgasms. The first dream was formalist extremist Gaspar Noé's follow-up his untoppable Enter the Void (2009), a new provocation de jour: a 3D sex film. Or, to be more precise, a 3D relationship drama »
- Daniel Kasman
Read More: Cannes: Gaspar Noé Calls 3D 'Childish,' Wants 12-Year-Olds to See 'Love' Six years after shocking the Cannes Film Festival with "Enter the Void," French-Argentine director Gaspar Noé returned this week to the event to premiere his latest and most audacious effort, "Love." The 3D, sexually explicit love story has been generating buzz ever since it was announced as a late addition to the festival's midnight section, followed by the release of its graphic, Nsfw posters. The film delivers on that tease and then some by featuring the most hardcore onscreen sex ever to screen at Cannes (and lots of it; the film runs well over two hours). Indiewire caught up with Noé a few days after its premiere to discuss the project, why he shot in 3D, and what he makes of his critics. Anticipation was high going into the midnight screening, largely because of »
- Nigel M Smith
In truly huge news for film fans, Cult Epics—the boutique label who brought Jörg Buttgereit’s Nekromantik films to U.S. blu—has announced an August Blu-ray and DVDate, as well as summer theatrical bookings for Gerald Kargl’s crucial, Austrian home invasion classic Angst. The 1983 film, often cited by Irreversible and Enter the Void‘s Gaspar Noé as a tremendous influence (he’s…
The post Crucial, Rare Home Invasion Film Angst Comes to Blu appeared first on Shock Till You Drop. »
- Samuel Zimmerman
The first 3D porn movie ever screened in official selection at the Cannes Film Festival has been sold to nearly 40 markets including Australia.
Gaspar Noé.s Love stars Karl Glusman as a young American reminiscing over an intense affair he had in Paris with Electra (Aomi Muyock). Her suggestion of a threesome with Omi (Klara Kristin) ultimately unravels their relationship.
.Its sexually explicit content, which might pose a problem in a handful of territories such as the Us, does not appeared to have deterred buyers,. Screen Daily drily reported.
.Even though one critic labelled Love the director.s tamest film, it hardly is that, considering the numerous, extremely graphic sex scenes in which nothing is left to the imagination,. Deadline.com.s Pete Hammond wrote. »
- Don Groves
It’s only his fourth feature film, but his eighth trip to Cannes, Gaspar Noé hasn’t let go of the short or long format. He first broke into the fest with the Directors’ Fortnight included Carne (1991), La Bouche de Jean-Pierre (short – 1996), Seul Contre Tous (short – 1998), Irreversible (2002), Sida (short – 2006), Enter the Void (2009), 7 Days in Havana (one of seven short films – 2012). If we only received a small sampling of critic grades for the 8:30 a.m. screening of Jacques Audiard’s Dheephan, it might have a lot to do with the conflict of interest and sleep deprivation associated to Noé’s Love 15 minutes past midnight screening. This year we made an exception in our Critics’ Panel, including this tantalizing 3D offering which our Nicholas Bell only reminds us that “Noé was already beaten to the punch by Michael Winterbottom with his film 9 Songs“. For many, this might be the filmmaker’s »
- Eric Lavallee
Following on from his controversial "Irreversible" and "Enter the Void," filmmaker Gaspar Noe returned to the Cannes Film Festival this week with the sexually explicit ode to young romance and threesomes with "Love".
What makes "Love" unique is that along with being sexually explicit in a way so distinct to Noe, it has also been done in 3D. The first reviews are out and go into detail about what to expect in terms of the graphic nature of the film, though actual review reaction has sadly not been great.
The film centers around three people - young American film buff Murphy (Karl Glusman), brunette French artist and free spirit Electra (Aomi Muyock) with whom he has had a passionate romance, and his neighbour Omi (Klara Kristin) the blond woman he cheated with and got pregnant. The structure is carved up and jumps through different points in time over a two year span. »
- Garth Franklin
There's a reason why Alchemy picked up Gaspar Noé's sex opus "Love" ahead of its Cannes premiere. The film's explicit love scenes — and in 3D — have been the talk of the Croisette since the festival began. It finally premiered last night. The lines were long, the anticipation heightened by bad boy Noé's brain-bending "Enter the Void" and, of course, that low-angle tunnel rape suffered by Monica Bellucci in "Irreversible." In a sexy year for cinema, could this taboo-busting Frenchman knock everyone's 3D glasses off? Noé sported his last night. Thierry Frémaux welcomed him at the midnight screening, where lines wended around the block, and hundreds — even some press — were turned away. Despite all the film's 3D sucking and fucking and ejaculating, the consensus is that "Love" is the provocateur's most tame work to date, emotionally undercooked and even pompous given the fact that the on-the-nose »
- Anne Thompson and Ryan Lattanzio
Scorpio Becomes Electra: Noé’s Sex Scenes from a Marriage
The last time we were caught in provocateur Gaspar Noé’s crosshairs it was back in 2009 with Enter the Void, which ended on an orgasmic crescendo by literally fucking the audience. He’s back with more of that kind of sex stuff with Love, a memory poem as sexual odyssey/obsession told via the nostalgia of its tortured protagonist. Sexually explicit, but not necessarily distasteful, Noé is simply showing the general mechanics of people having sex. The rest of the narrative, seeking to explore the undoing of a passionate, youthful relationship, is nothing new as it explores the mundane inevitability of monogamy and how solving such an issue in a union based mostly on sexual attraction proves to be difficult. For those not titillated by a generous helping of spurting fluids and erect penises (including another vagina-cam shot), it’s »
- Nicholas Bell
Quick, try to describe Irreversible and Enter the Void writer-director Gaspar Noé without relying on the words “controversial,” “provocateur,” “bad boy” (or, more Gallically put, “enfant terrible“) or “transgressive.” Noé’s latest potential scandal-maker, Love — hotly anticipated after smutty publicity materials teased it as a 3D art-house porno, complete with semen-sticky title treatment — was surprisingly softer and less shocking than anyone expected from last night’s midnight premiere. It’s also callow, shallow and numbingly insipid, despite its explicit mélange of blowjobs, threesomes and orgies. (Seriously, how does one make hardcore fucking more vanilla than Fifty Shades of Grey?) In a two-hour-plus scrapbook of flashbacks and time jumps forward, a […] »
- Aaron Hillis
Gaspar Noé. For some even the name sends shudders. Thoughts of the visually bombastic Enter the Void cause a kind of Ptsd, and his Irreversable still haunts some 13 years on. The Argentine-born, France-based director occupies a unique and stratified position as enfant terrible at the age of 51. So when carnal posters started appearing for Love, one showing a dramatic and hygienically dubious ménage-a-trois kiss, another showing a cake-and-icing vignette involving a hand and a phallus, the likelihood of getting something subtle wasn't quite what audiences would be queuing up for. It's thus somewhat surprising, then, that Love plays almost restrained. Under all the trappings and gimmicks, this is a very simple (and at times quite effective) story, a man reflecting upon his...
[Read the whole post on twitchfilm.com...]
Stars of Gaspar Noé's Love, Aomi Muyock and Klara Kristin in Cannes. Photo: Richard Mowe Gaspar Noé is no stranger to controversy - and neither is Cannes Film Festival. Surrounded by hardcore hype, Noé who made Irreversible, with Monica Bellucci in an extended rape scene, as well as Enter The Void, now offers Love - in graphic 3D.
He has been talking for years about making a porn film that is also romantic and embraces sexuality in all its myriad guises and this would appear to be it.
It premiered at a packed midnight screening last night in the Grand Theatre Lumière and was unveiled to the media earlier today (May 21) to a mixture of boos and mild appreciation from some quarters.
- Richard Mowe
"Gaspar Noé may be the only director in history who could make a two-and-a-quarter-hours-long pornographic film in 3D and then have it legitimately described as his least offensive picture to date," begins Robbie Collin, reviewing Love for the Telegraph. "Unlike his previous three features, I Stand Alone, Irreversible and Enter the Void, which stupefied the viewer with shocks, here the aim is to suck shock out of the moving image like venom from a snakebite. Love is interested in showing us one of the last movie-world taboos, real sex, over and over again, until watching it feels like the most natural thing in the world." We've got more reviews and a clip. » - David Hudson »
[This review contains descriptions of graphic sexual acts.] Cannes — The first shot of Gaspar Noé’s new drama “Love” lets you know exactly what you’ve gotten yourself into. Murphy (Karl Glusman) and Electra (Aomi Muyock) are naked on a bed. She is giving him a hand job while he fingers her. The camera does not move. There is no cut to another shot. There is no music. And then, in what will be a common occurrence, Murphy ejaculates in Electra’s hand. Noé has given you ample warning of what’s ahead. This film will not simulate sex. The intercourse will be real and it will dominate the proceedings. After this initial scene the film jumps two years later and the actual narrative begins. Murphy, an American film student living in Paris, awakens in bed with his current companion, Omi (Klara Kristin). Their young son is crying and Murphy goes to try and calm him down. A »
- Gregory Ellwood
Gaspar Noé, the provocative filmmaker behind Irreversible and Enter the Void, premiered his latest picture Love at the Cannes Film Festival last night - but critics haven't been totally on-board for his hardcore 3D sex odyssey.
Initial reviews have delved into the film's specifics in eye-opening details (basically, graphic sex mixed with a lot of navel gazing); however this taboo-shattering film isn't as shocking as initially expected. Read on for a round-up of reviews and reaction from social media...
The Telegraph - Robbie Collin
"The problem with Love isn't its purpose, which I find wholly laudable, nor the sex itself, which is beautiful and also - to use a taboo critical term - sexy. It's that both these things deserved a far richer and more intelligent film to support them. Catherine Breillat's Romance and Bertrand Bonello's The Pornographer both gnawed at the boundaries of taboo, but as you watched them, »
The cast holds nothing back in Gaspar Noe’s “Love,” but it’s the ever-provocative writer-director who exposes the most in his sexually explicit, semi-autobiographical Cannes scandal-in-the-making, a courageously personal account of an aspiring filmmaker torn between the mother of his child and the one that got away. The helmer of such transgressive pics as “Irreversible” and “Enter the Void,” Noe resolved to make a relationship movie that was honest about human sexuality, and though the stereoscopic 3D result thrusts plenty of the old bump-and-grind in audiences’ faces, it would be disingenuous to pretend that other directors haven’t gotten there first — and to more revealing effect. Still, you’ve gotta hand it to Noe for leaving no taboo unturned, and for putting so much of himself into a film that’s bound to leave titillation seekers resenting its creator during the long stretches of wallowing introspection between climaxes.
- Peter Debruge
Read More: The 2015 Indiewire Cannes Bible In his psychedelic 2009 drama "Enter the Void," French-Argentinean director Gaspar Noé pushed film language and audience expectations to their breaking point with a spirited attitude that meshed with innovative craftsmanship. The conceit behind his follow-up "Love," a 3D love story loaded with graphic sex, suggests another attempt to merge extreme provocations with real filmmaking skill. Instead, the biggest surprise of "Love" is its modest ambition: Noé's intermittently absorbing, somewhat half-baked, underwritten chronicle of a doomed romance does offer a few tidbits of hardcore goods as promised, but otherwise feels lightweight. Rushed to the finish line in time for its Cannes Film Festival premiere, "Love" plays out like the fragmented outline for a more engaging movie. But the one found here lacks substance both on the level of story and graphic reveals. Despite the 3D effects, »
- Eric Kohn
Gaspar Noé is that rare director whose movies you can see from space. The lurid and dazzling colors, the howling dervish of his camera and the intensely trippy psychosexual themes all form a connective tissue that binds his three films thus far: "I Stand Alone" (1998), "Irreversible" (2002) and "Enter the Void" (2009). Anyone who's seen "Irreversible," the sicko auteur's time-bending rape revenge opera, knows you can't un-see it. This week, Cannes audiences will finally be treated to his 3D sex opus "Love," a three-hour melodrama about the sexual awakening of a boy, a girl and another girl. "Love" marks the Argentine-born French filmmaker's first film since "Enter the Void," Noé's candy-colored free-fall into the unconscious of a dead drug dealer as his soul floats high above the twinkling Tokyo vista. As an exasperating assault on the senses as any of his films, "Enter the »
- Ryan Lattanzio
Ahead of its Cannes premiere, the first brief clip from Gaspar Noe’s (Irreversible, Enter the Void) latest sure-to-be-controversial offering Love has arrived online, and we have it for you below after the official synopsis..
“In Love, Murphy wakes up next to his young wife and 2-year-old child. He listens to his voicemail: Electra’s mother, sick with worry, wants to know whether he has heard from her daughter. Electra’s been missing for a long time. She’s afraid something really bad has happened to her. Over the course of a long rainy day, Murphy finds himself alone in his apartment, reminiscing about the greatest love affair of his life, his two years with Electra. A burning passion full of promises, games, excesses and mistakes…”
Love has secured U.S. distribution courtesy of Alchemy, but as yet there’s no word on a release date.
- Gary Collinson
The final shot of a movie can put a strong punctuation mark on a film's theme, and the best of them will stay with the viewer long after the credits roll. This supercut brings together 31 different examples of finales that made an impact. Set to Arvo Part’s stirring “Spiegel im Spiegel” and mostly focusing on contemporary films, Lorenzo Antico’s video pulls together films as disparate as “Enter The Void,” “Super 8” and “Tree Of Life” and focuses on the sometimes gooey and warm ending that invites some people in. It’s a beautiful supercut that features a nice cross-section of styles and genres. Watch the video below. [35Mm] »
- Cain Rodriguez
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