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Gaspar Noe is definitely no stranger to making controversial films, with Enter The Void, Irreversible and other past movies of his being either completely out there or shocking and in your face. While his films aren’t for everyone, you can’t deny the fact that he makes films without compromise, without candy coating any topics he decides to address. The same can be said for his latest film, Love 3D, an intimate and sexual drama about a man, two women, and their intimate affair. After being celebrated at festivals and during its recent theatrical, Love is set to make its DVD/Bluray/Bluray 3D debut on January 5th, via Alchemy.
Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the seismic effect it will have on their relationship, they invite their pretty neighbor into their bed. »
- Jerry Smith
Gaspar Noé’s bid to shock us into submission with 3D sex is let down by two-dimensional performances
“I want to film that which cinema has rarely allowed itself, either for commercial or legal reasons,” says Gaspar Noé, writer/director of cause celebre Cannes favourites Seul Contre Tous, Irréversible and Enter the Void. For his fourth feature, Noé sets out “to film the organic dimension of being in love”, free from “the ridiculous division that dictates no normal film can contain overly erotic scenes”. Thus we have a Last Tango in Paris-tinged tale of amour fou in which a disconsolate young American in Paris drifts from the responsibilities of fatherhood back into memories of lost love, Noé taking us on a lurid three-way tour of appendages and orifices, physical and psychological.
This of course is nothing new. Since the post-Deep Throat days of Nagisa Oshima’s Ai No Corrida »
- Mark Kermode, Observer film critic
Xan Brooks, Henry Barnes and Benjamin Lee review Enter the Void director Gaspar Noé’s new film, a sexually-explicit 3D film about a young man reflecting on his sexual relationship with two women. Love, which features copious amounts of sex, is Noé’s attempt to examine the nature of a loving, physical relationship that turns sour. It’s in UK cinemas from Friday 20 November
Watch the full Guardian film show Continue reading »
- Xan Brooks, Henry Barnes, Benjamin Lee, Dan Susman, Richard Sprenger and Andrea Salvatici
2015 has been a banner year for new music, and with services like Spotify, Apple Music, Tidal, as well as the ever growing popularity of vinyl, music fans don’t have a shortage of ways to legally get a hold of the tunes they crave. Icons Of Fright has always held music close to its heart, so I wanted to share some of what has been keeping me going this year!
The short stuff
EPs have been a great way for bands to get their music out to their fans when they don’t have a full album to fill, but more than just a single.
Nathan Gray “Nthn Gry”
Nathan Gray, front man for Boysetsfire and I Am Heresy, steps away from the post-hardcore roots, embraces a tone more similar to Nine Inch Nails or Stabbing Westward. Brooding, melodic, and atmospheric, “Nthn Gry” is 8 tracks filled with dreary goodness. For »
- Derek Smith
Enter the Void director breaks his silence over alleged similarities between film’s title sequence and West’s All of the Lights video
Argentinian film director Gaspar Noé has criticised Kanye West and director Hype Williams for apparently copying ideas from the title sequence of his 2009 film Enter the Void in their video for West’s 2010 hit All of the Lights.
Noé’s title sequence, made in collaboration with director Tom Kan, features a dizzying assault of flashing typography, which races through Enter the Void’s cast and crew. Williams’s video also features a dizzying assault of flashing typography, which races through All of the Lights’s featured musicians. Speaking to the Daily Beast, Noé described Williams’s appropriation of his style as “a rip-off” and said he was particularly aggrieved by Williams’s repeated use of his own name in the credits.
Continue reading »
- Guardian film
For a long time Gasper Noé has dreamed of making a movie about lovemaking, a dream that he could finally realize in his new film, Love. The representation of sex is a familiar ingredient of contemporary films. However, in contrast to the work of directors such as Buñuel or Pasolini, the erotic impulse almost never assumes a subversive form in these films. We are far from the ethos in which the cinematic representation of sex was thrillingly political and radical. Love, however, manages to transcend the numbing banality of eros in contemporary cinema by constructing its sex scenes in unorthodox ways. Noé's camera rarely focuses on sexual organs and, instead, depicts the scenes of lovemaking from God’s point of view. Noé's aesthetic in Love remains particularly faithful to André Bazin's suggestion that, because of the wholeness of erotic acts, the cinema is limited in the representation of sex. To Bazin, »
- Amir Ganjavie
Today we threw down the gauntlet of the 50 Best Opening Credit Sequences Of All Time, and Gaspar Noé's trippy "Enter The Void" made the cut. The nearly seizure inducing blitzkrieg that opens the movie, with super stylized, neon soaked lettering that races by and changes font, is arguably more remembered than the movie itself, and has spawned more than a couple of imitators who have paid homage to the sequence. It's a subject that The Daily Beast notes seems to irritate Noé, but when asked he revealed one particular example of someone "borrowing" the "Enter The Void" sequence that gets under his skin. "... the director [Hype Williams] was someone else who ripped off the titles to my movie,” Noé said. “I was more shocked by the fact that that guy who copied all the typography of my titles put his name in it—Hype Williams—when you never usually see a »
- Kevin Jagernauth
Noe, whose edgy “Love” was just released, spoke with the Daily Beast about the similarities between his film’s title sequence and West’s 2011 music video. The director said he was not consulted by Williams or West and found out about the video when it appeared on YouTube.
“And the director (Williams) was someone else who ripped off the titles to my movie,” Noe said. “I was more shocked by the fact that that guy who copied all the typography of my titles put his name in it — Hype Williams — when you never usually see a director’s name in a music video. He was putting his name on it over and over! It was so weird that »
- Jacob Bryant
“The movies that represent love and passion in a complicated way are extremely rare. Many doors were opened in the ‘70s by daring directors, and also daring, new laws that opened the representation of sex in underground cinema. Now almost all those doors are oxidized because no one is using them,” director Gaspar Noé recently told us. “In the Realm of the Senses was in the ‘70s, and, since then, who took advantage of that sexual revolution from the ‘70s?
Indeed, there’s not many answers to that question, but one filmmaker that would qualify is Abel Ferrara. With the release of Love, the brilliant folks over at The Talkhouse have now facilitated a conversation between the two boundary-pushing directors. Due to some connection issues, the first half is a bit awkward as they talk over eachother, but it soon evolves into a great conversation about censorship, getting their movies banned, »
- Jordan Raup
As an aspiring actor, Karl Glusman studied at the William Esper Studio in New York, where his instructor once chided a classmate for really shaving in a scene. What would happen if the student cut himself and bled all over the stage? “He turned to the class and said, ‘It’s too real. No piss. No s—t.’” He also banned a third bodily fluid, which is prominently featured in “Love,” the indie that’s been billed as Argentinian director Gaspar Noe’s 3D pornographic film. “I was a little worried I was going to disappoint my teacher Bill,” Glusman recalls, with a chuckle, on a recent afternoon.
“Love” isn’t your typical movie romance. When it premiered at Cannes at a midnight screening, it pushed the envelope with even a European crowd. The movie not only features full frontal nudity — there are many close-up shots of genitalia — but oral sex, »
- Ramin Setoodeh
Plot: After he's informed his ex-girlfriend is missing, an American expat reminisces about their turbulent years together. Review: Who knew Gaspar Noe was just a lovesick romantic at heart? A perverse, fetishistic romantic, of course, but the provocateur known for such button-pushing, surreal titles as Irreversible and Enter The Void displays a surprising soft streak in his latest, Love. The film,... Read More »
- Eric Walkuski
A medium-height, slightly nervous, shy-seeming, fast-talking man, Gaspar Noé doesn’t really announce himself as the formally audacious director behind some of this millennium’s most assaultive and, speaking broadly, extreme narrative films. Perhaps that (altogether friendly) personality more clearly befits his latest film, Love. What’s been referred to for the years of its development as a “3D porn movie,” but hews closer to Last Tango in Paris or The Mother and the Whore: a slow, sad, and only intermittently confrontational picture that mostly uses its format as a tool for rendering spaces and memories more immediate. The inevitably downbeat ending, communicated early, lends the sex an uncomfortable air — one where even 3D cum shots carry a certain sort of melancholy.
Despite his work’s general reliance on images over words, Noé is a very verbose artist, taking a question about one thing and providing an answer about two others. »
- Nick Newman
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 about a man reflecting upon...
[Read the whole post on twitchfilm.com...]
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
Halloween is fast approaching, and Eli Roth--the actor and filmmaker known his work on gory films like Hostel--is looking to celebrate in style. Roth’s CryptTV platform has launched #15SecondScare contest, which will award a $10,000 prize to the creator who posts the scariest 15-second clip on Instagram.
The rules are simple: Film a horror video that runs for 15 seconds or less, upload it to Instagram, and tag it with #15SecondScare and @CryptTV. From there, it will be submitted before the contest’s panel of judges, and they’re a powerful bunch. Roth’s friend and collaborator Quentin Tarantino will deliver his input, as will Key and Peele’s Jordan Peele, musical artist Deadmau5, actress Vanessa Hudgens, Enter the Void director Gaspar Noé, noted horror producer Jason Blum, and, of course, Roth himself. The best short of the bunch will win a development deal with CryptTV, which Roth launched »
- Sam Gutelle
It’s not the length of the terror that matters, it’s the size of the scare.
At least that’s what horror maestro Eli Roth is setting out to demonstrate using the latest in social networking. The “Hostel” director is launching a new online contest dubbed #15SecondScare and challenging his fans to cook up the scariest short on Instagram.
A celebrity stuffed panel of judges will help Roth determine who delivered the most blood-curdling short. They include Quentin Tarantino, music producer deadmau5, “Key and Peele’s” Jordan Peele, “High School Musical” star Vanessa Hudgens, “Enter the Void” director Gaspar Noé, “Paranormal Activity” producer Jason Blum and Roth himself.
The project is being backed by CryptTV, the digital genre network co-founded by Roth and Jack Davis. The winner will be announced on Halloween. They will get a $10,000 check and the chance to have their work turned into a short by the team at CryptTV. »
- Brent Lang
Nerdist Presents The Hive, the latest film from director David Yarovesky, features an intriguing mystery, palpable practical effects, and spreading infection that turns its summer camp hosts sinister. With The Hive now available on digital platforms, we recently caught up with Yarovesky to discuss the visual influence of the Evil Dead remake, shooting at the same location from Wet Hot American Summer: First Day of Camp, and more.
David Yarovesky: I’ve developed my own techniques for shooting my films. I never went to film school—I got in the trenches and just started making stuff from a very early age. I worked with the director of photography and the production designer, wardrobe—there are certain key departments that I take with me on every project. And we really have developed our own process. It’s a tough process »
- Derek Anderson
Argentinian filmmaker Gaspar Noé is back with his first feature film in five years, and it's a doozy! Love debuted at the Cannes Film Festival earlier this year, and today, Vice has debuted the first trailer for this 3D porn film, featuring real sex scenes that weren't simulated. The romantic drama has been picked up by Alchemy and given an October 30 release date. The film will expand into additional markets and VOD platforms starting November 6, but it isn't known exactly what markets the film will expand to.
January the 1st, early morning. The telephone rings. Murphy (Karl Glusman) 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 (Aomi Muyock) has been missing for a long time. She's afraid something really bad has happened to her. Over the course of a long rainy day, »
Argentine Gaspar Noé might not be the cinema world’s most prolific provocateur, but he’s certainly one of the most vigorous. Noé’s controversial drama Love screened earlier this month at the Toronto International Film Festival and PopOptiq’s associate film editor Victor Stiff, wasn’t a big fan. In his review, Victor wrote, “by the end of the 2-hour film, audiences will have viewed so many three-dimensional breasts, penises, and vaginas that they will crave a movie that’s PG-13.”
Shot in stereoscopic 3D, Love is Noé’s semi-autobiographic, heavily graphic, and most narratively ambitious film since his 2009 Enter the Void. The film follows Murphy, who wakes in his apartment one New Year’s Day to a frantic call from his ex-girlfriend’s mother. His ex, Electra, has been missing for months and her mother fears the worst. Over the course of a long, rainy day, Murphy finds himself alone in his apartment, »
Sure to ruffle some feathers this fall, the latest work from Gaspar Noé is Love, a melodrama featuring unsimulated sex in eye-popping 3D. Premiering at Cannes earlier this year to a divisive response, the story specifically tracks the relationship between three individuals, and now we have a better glimpse at the erotic journey thanks to the first U.S. trailer and a threesome (sorry) of Nsfw clips.
We said in our review, “Love endeavors to capture the ecstasy of love as expressed through sex, something that Murphy, a film student, proclaims as the most noble – and, supposedly, yet unrealized – of cinematic ambitions. By name-checking Pier Paolo Pasolini, Rainer Werner Fassbinder and Andy Warhol through Murphy’s t-shirts and film posters, Noé situates himself not only in the tradition of some of cinema’s most eloquent pioneers on the subjects of love and sex, but at its vanguard. Love doesn’t say nor show anything new. »
- Leonard Pearce
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