Screens Lyon – – Love by Christophe Chabert Petit Bulletin Lyon

The memory of a love story told in his sexual tapes: Gaspar No is stripped down like his actors in this unique, shocking and touching film. Christophe Chabert

A 1er January, Murphy receives a message on his answering machine: Electra’s mother is worried because for weeks she hasn’t heard from him. Who is Electra? The woman Murphy fell in love with, with whom he had a burning love and was then released. Now, Murphy lives with a young woman where he has a child, but it’s not the life he wants that it should be just a passing trend and that the maldito condom wouldn’t have broken. walk.remember his history with Electra.

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love immediately under the guise of this nostalgia for wasted loves, and this leap in time for Gaspar No is the opportunity to create a mental puzzle in which all the pieces will be images aimed at sex before, during and after. That’s the sublime paradox on which the film is based: as it sinks into Murphy’s brain, it brings back bodies, flesh, joy, happiness. And as his hero climbs against the four walls of his apartment, it is covered with signs of a past similar to the character of the author himself (a poster of trussthe model of love hotel Enter the void), the immersion in his memory always opens up more space, until this beautiful encounter where two future lovers seduce each other by leaving their group at the height of a park to go for a walk. alone in the green alleys.

No, everyone is alone against everyone

time can destroy everything ; we recall this aphorism written in large letters at the end ofirreversible, a film tells the inner story, from the hell of the present to the lost paradise of the past. For Gaspar No, cinema is the best weapon to avoid this death. If one finds this philosophical statement nave at the time, love come to explain the most personal standards; because Murphy is clearly thealter ego of the filmmaker, who would not stop putting himself to play, when he was not on stage, in his film. Murphy is a film student, his son is called Gaspar, his ex is Lucille (like Lucille Hadzihalilovic, a filmmaker and a colleague of No’s time) and he himself plays the role of a boorish owner of the gallery, a former lover of Electra for whom. Murphy testified with a fierce jealousy.

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It can only be a small game of knowing the flashes like producer Vincent Maraval’s performance as a cop skilled at swinger parties. not only true of non-simulated sex, of autobiographical notation but above all it embodies the essence of the project led by Gaspar No since its inception, which is to film the stories of love lost in the past by the time the power of cinema succeeds. revival. The incest executioner of Alone against everyonethe latter dirreversible revenge on his raped wife or the junkie dEnter the Void trying to recreate beyond death the close bond that unites his sister, they’re all Murphys already, but more than that, they all reflect No’s personality: a great romance hidden behind the face of darkness and challenge.

Mlo contemplative porn

gold, love nothing provocative. However, No has never flirted with prohibitions at this point: the first scene sets the tone, as we see Murphy and Electra masturbate in a static shot that lasts for hours. side of the boy or at least his orgasm. What is surprising is not the frontal representation of sex, but the gentleness of No’s view of it: it is a peaceful, peaceful image, in which one spends time contemplating bodies and movements, and with which there is no penetration of bad taste to move on. pornography.

This is what happens with every sexual encounter in the film, even if they go to explore more disturbing facts: swinging, threesome, quick sex in the bathroom at a drunken party. Each speaks to the state of a relationship by the way in which bodies overlap or reject each other; for No, love is to show where you are in your love for someone. And if you need to put a label loveit is in a contemplative porn melodrama in categories that are less contradictory, but whose meeting shows how unique the film is in its genre.

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We can almost have wordless dialogues because we are just dumb little talk everyday life, more so than in his previous films, which is not an ease but a style, because his visual choices tell all about the bond that unites Murphy and Electra. Even 3D ended up making sense: when Murphy filmed with his tiny video camera, the stroscopy became more realistic, less stylish. This is because the look of the character is not the same; the young man’s enthusiasm in front of his muse gives way to the adult’s spleen idealizing and smoothing out the past that doesn’t want to pass.

In an even more pathetic final move, everything comes together, and this spleen invades the screen. There was something broken in Murphy’s life, that could no longer be undone, and after thinking about his mistakes, he could only cry bitter tears. It’s also a final development of Not Regarding Himself: because he enjoys the double greed of satisfying his own pleasure by denying the desire of others to lose Murphy to Electra. Bold reception from a filmmaker who has long been called a misogynist: here, it’s the men who behave like bastards and the women who suffer. And only the cinema can select pieces for a period of time.

By Gaspar No (Fr, 2h14) with Karl Glusman, Aomi Muyock, Klara Kristin
Released July 15

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