GUGMA by Gaspar Noé – movie review [Cannes 2015]

Alang’s Gaspar Noé, love a film that makes men and women cry“explained a year ago producer Vincent Maraval, when the project was announced. A Cannes festival later, the author’s new realization ofEnter the Void shown to the public and in the press. Judgment? Well, it’s like always with Noé: there are those who love it, and those who hate it. Finding in-between isn’t easy, as you can see in our press review of the film reviews below.

Synopsis of GUGMA by Gaspar Noé: The story begins one morning with the phone ringing. Murphy, 25, woke up surrounded by his young wife and three-year-old son. He listened to his answering machine. In the message, Electra’s mother asks her, very worried, if she hasn’t heard from her long-lost daughter. He was afraid that a serious accident had happened to him. During a long gray day, Murphy finds himself alone in his apartment reminiscent of his most common two-year love affair with Electra: a loving love that has it all. promises, games and ‘over …

“A film that calls on the power of cinema to create a language”

“The simplicity of sex as an important element of existence is thus fully described here. But the point is not there, this famous discovery of the body serves above all a depressive about painful separation.”

“Underneath his (false) rage, sometimes tired of its private comedies, reveals a completely different film, bigger and purer, that calls on the power of cinema to create a language.”

Culture Box:
“So pornography, this film? Yes, if you consider that sex scenes are not simulated and that no detail can escape the camera. But it can’t be downgraded to this status. Against the backdrop of deception and drugs.”

Cinema teaser:
“The tight, tired grief collapses bloodless in a bathroom where the last intense embrace seeks to reject fate beyond regrets and regrets. In LOVE we do not love each other, we promise to love each other until end. “

Daily March:
“We regret having made a whole world out of a shocking and well -trained marketing technique. Abdellatif Kéchiche’s camera of Adele’s nostrils is more shocking than Noé’s flying over his actors. “

“Love takes a lot of vision, and at first, sometimes we get lost in the way. We think, with no answer found: 3D, what is it for? To be aroused? No. We really don’t know, in fact… Why such a plan, and such another? … But we followed. We are holding on to these beautiful creatures. “

“A boring, ego-inflated soft porn”

“Love repeats, while raising them, all the mistakes of Gaspar Noé’s previous films. Starting with an embarrassing narcissism: the child is called Gaspar, the filmmaker plays a stinking gallery owner who named Noé, Murphy’s favorite film is 2001, the filmmaker’s totem. “

“We regret the moralizing background of the film. How can Love not be seen as a little traditional in a compulsive way of linking sex and love, even sex and desire for a child?”

20 minutes:
“Love is nothing but a sentimental and shameless melodrama, a film in which the sex scenes have a good taste similar to, frankly, what is usually done outside of the camera set.”

“After two hours of uninspired dialogue, we have confirmation that if Love isn’t orderly, it’s all over for her unpacking of sentimentality.”

The Blue in the Glass:
“Finally, there’s the little question of love, Gaspar Noé prefers to quote himself and change his main character into an extension of himself in a film with no emotion or courage.”

“To distinguish himself from other pornographic films that have been directly lost to the masses on the net, Gaspar Noé talks about himself, cinema, love with pompous lines while scattering the sequences for a few seconds black images, to give a View Master effect to our childhood. “

“Gaspar Noé had a good idea but was guilty of his usual mistakes. An ambitious project, Love turned into a kind of boring soft pornography, inflamed self -confidence above all.”

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