Directed by Gaspar Noé
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.
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★★★½ review by Simon Ramshaw on Letterboxd
★★★★★ review by The Armando Jimenez on Letterboxd
You all better strap your titties and lock up your chastity belts...
Review is coming
★★★★ review by Jonathan on Letterboxd
Give me that 3D nut baybee!!!
★★★★½ review by Mark on Letterboxd
Yeah, I'm just as surprised at this rating as you probably are right now...
But this was actually kind of beautiful and fascinating in a way? I would even say that it was quite genius...
★★★★ review by Joe on Letterboxd
What if love, but ... unhappy!
Another Gaspar Noe Specialty that I will not know how to feel about forever hence. The main thing I want to make clear is that on a purely visual, cinematic level, this is possibly the movie of the year. I'm not a big 3D fan and as a result I haven't seen much 3D, but this is how 3D should be used - Noe creates visual effects both obvious (smoke and, uh, everyone's favorite bodily fluid both fly into the viewer's face at some points) and subtle (a couple argue in a car in razor-sharp focus while the lights of Paris drift dreamily past them through the windows), and the whole thing is just intoxicating. He uses depth to put us inside a character's head or to make him appear like a fish in an aquarium, just really lovely stuff.
About those characters, though. There's a scene in the middle of this that shows the central couple walking through a park, and Murphy says his favorite movie is 2001 and reacts with shock after Electra tells him she hasn't seen it. She prefers poetry, and then goes on to recite literally the most obvious piece of poetry that doesn't involve a gentleman from Nantucket, and it was at this point that I started to wonder if this wasn't just some huge joke on Noe's part, beefing up the problems of shallow, pretentious people (one of whom is an obnoxious cinephile, a detail that I completely loved) into arthouse tragedy through willpower and expensive cameras. This possibility is never clarified, but never really eliminated either, so perhaps wise Murphy was onto something when he said "life is what you make of it."
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