6.5/10
813
12 user 19 critic

La vie nouvelle (2002)

The story involves a young American who falls obsessively in love with a mysterious courtesan named Melania against the backdrop of a dilapidated Eastern European landscape.
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1 nomination. See more awards »

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Cast

Credited cast:
Zachary Knighton ... Seymour
Anna Mouglalis ... Melania
Marc Barbé Marc Barbé ... Roscoe
Zsolt Nagy Zsolt Nagy ... Boyan
Raoul Dantec Raoul Dantec ... The french man
Vladimir Zintov Vladimir Zintov ... Hired man
Georgi Kadurin Georgi Kadurin ... The sad man
Simona Huelsemann Simona Huelsemann ... Prostitute 1
Salvador Gueorguiev Salvador Gueorguiev ... Boyan's man 1
Ivan Velichkov Ivan Velichkov ... Boyan's man 2
Peter Petrov Peter Petrov ... Boyan's man 3
Diana Gerova Diana Gerova ... Prostitute 2
Boyka Velkova Boyka Velkova ... Boyan's wife (as Bojka Velkova)
Rest of cast listed alphabetically:
Josh Pearson Josh Pearson
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Storyline

The story involves a young American who falls obsessively in love with a mysterious courtesan named Melania against the backdrop of a dilapidated Eastern European landscape.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French | English

Release Date:

27 November 2002 (France) See more »

Also Known As:

A New Life See more »

Filming Locations:

Sofia, Bulgaria

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »

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User Reviews

 
wonderfully and insistently depraved immersive cinema
22 August 2003 | by joshappignanesiSee all my reviews

This is a film that provokes strong reactions, usually negative ones. But then that's always been the privilege of the avant-garde. Grandrieux has stripped away almost all story, dialogue, character, and motivation - except for the darkest psychosexual impulses. This film is about those impulses in the most direct possible way - it immerses us in them directly and relentlessly. Not through character and story, but directly through the audiovisual plane. He refuses to leaven or soften the experience by giving us any character we can identify with; and this is surely the point: it's a film that directly mimics the point where humans become animals, at the mercy of their basest impulses. Impossible to overcome them. This is made clear by the repeated images of wild dogs, etc. The film may both repel and bore viewers with this insistence. But there is no denying that Grandrieux is a remarkably original director in his use of image and sound. It's worth knowing that his background is in video art. The film positively swelters inside a thick womblike soundtrack of buzzing, throbbing noise; the camera sears depraved, repetitive images on our eyeballs. The film seems to exist outside time and place - some sort of east european setting is the only clue we have to whereabouts. It feels more like a circle of hell than anywhere on earth. And that's precisely the point.


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