British couple Fiona and Nigel Dobson are sailing to Istanbul en route to India. They encounter a beautiful French woman, and that night Nigel meets her while dancing alone in the ship's ... See full summary »
Kristin Scott Thomas,
A wounded criminal and his dying partner take refuge at a beachfront castle. The owners of the castle, a meek Englishman and his willful French wife, are initially the unwilling hosts to ... See full summary »
A young couple move into an apartment, only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
Behind the credits are images of classical artworks depicting Venus. Titles, in French as per the credits, are as follows - Titian: Vénus a sa toilette (1555) (National Gallery of Art, Washington) Ferdinand Bol: Vénus et Adonis (1658) (Rijksmuseum) Titian: Vénus a sa toilette (1555) Rubens: Vénus au miroir (1616) Rubens: La Toilette de Vénus (1608) Diego Velasquez: Venus au miroir (1651) Hans Memling: La vanité (1485) École de Fontainebleu: : La Toilette de Vénus (around 1550) Sandro Biotticelli: La naissance de Vénus (1485) Alexandre Cabanel: La naissance de Vénus (1863) Emil Jacobs: Vénus allongé et Cupidon (1839) Nicolas Poussin: Vénus dormant avec l'Amour (1628) Titian: Danae (1546) Rembrandt: Danae (1636) Joseph Helmz l'ancien: Vénus endormie (around 1600) Alessandro Allon: Vénus et Cupidon (16th century) Titian: Danae (1544) Lambert Sustris: Vénus et l'Amour (1515) Domenico Zampieri: Vénus (17th century) Jacopo Palma: Vénus allongée (1520) (Bridgeman Art Library) The final image is of the "Venus De Milo". See more »
interesting reflection on "gender violence", expressed through simple and efficient screenplay
Roman Polanski in this movie proposes an interesting re-lecture on gender violence, topic of relevant importance in post-modern societies. The movie, limited in space, time and actors (one stage, essential screenplay, two only actors), proposes a challenge to the complexity, symbolic violence amongst genders is embedded in. It could be considered as a elegant critique to the way women are represented throughout men's "heteronormative" sexual attitudes and behaviors: treating women's bodies as objects, promoting disadvantage of women on a political and economic level (film industry in this movie), etc. But the movie also enhances a certain complexity of so-called gender roles, and the way inequalities between sexual clusters become much more fizzled as they appear in a normative, structuralist perspective. Within everyday life practices, as shown in different scenes of Polanski's film, positions related to power and domain change constantly and the reified, fix borders amongst gender categories are quite subtle. Polanski, indeed, is a director and not a sociologist and as an artist he provokes and stimulates, rather than proposing theoretical or ideological statements. His courageous and unique style in directing this movie could be considered as a reflection on the complexity of reality, and in this specific case of gender violence; an excursus on a fluid society made of fast and inter-sectional changes on all levels of experience: from micro to macro. Just some few words spent on Shizuka's previous comment: of course taste is subjective; someone likes or dislikes a certain artistic production. But I really do not understand what his legal troubles are going to do with his movie! He directs movies and people who decide to watch them, do that for a personal decision (or sometimes for work if you are a film-reviewer) and not for financing illegal behaviors. So be aware in expressing general, superficial and senseless judgments: it is like saying that watching Wall Disney's animations supports anti-Semitism or reading Lewis Carroll's Alice in Wonderland promotes minors' sex abuses.
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