Love, Noah’s cinematographic language seems to be enjoyed in • Le Suricate Magazine


love poster

love
on Gaspar Noe
Erotic, Drama
Starring Karl Glusman, Aomi Muyock, Klara Kristin
Released July 29, 2015

After all the controversy sparked by the quasi-pornographic posters of Gaspar Noé’s latest film, screened at the 2015 Cannes Film Festival during the midnight session, love arrives in Belgium. Behind the phantasmagoric desire of the director to create an erotic film and shock his viewers for free hides a true synopsis of the story.

Murphy, a 25-year-old director, woke up on Jan. 1, next to his girlfriend he despised, to the tears of their two-year-old son. Electra’s mother, his ex -girlfriend and apparently the love of his life, left him a voicemail: he was trying to ask about his long -lost daughter. Left alone in his apartment to remember their story, Murphy loses his memories with Electra: love, sex, disappointment, sex, jealousy, sex, crisis, sex, and so on.

Gaspar Noé re-uses the repetitive narrative already used in his controversial film Can’t go back. It always starts at the end and ends at the beginning, except for love, the story is interrupted by the relentless return to the present. In addition to the anti-chronological form that nothing is carried in the film because it is constructed from a combination of sex scenes (a scene from both), love depending onCan’t go back the desire for unpaid provocation and cinematographic egocentrism, which became the director’s signature.

The film overflows with the director’s pride reminding us of him every twenty minutes. The couple named their son “Gaspar”, and the art gallery owner named “Noé” played himself by the director. And coincidentally, the protagonist Murphy is the filmmaker’s alter-ego: he’s a director who likes to express sexual emotion in his films and who thinks that films should be made of “semen, blood and tears” . Noé also mentions his old films, especially by using their musical themes.

love exhausted the vocabulary of sexual experiences, from simple sex to swingers club through all positions imaginable. In general diving or in a series of shots that cut the bodies of the actors, the film sanctifies the carnal experience and films it with an aesthetic eroticism. If the body of the actors allows them to pass pornographic actors, Noah’s camera and its light give them all cinematic divinity.

The first part of the film, especially the sequence in which the couple tries to seduce their new seventeen-year-old neighbor-who would later become the mother of Murphy’s boy-manages to shake the audience for the duration of this. scenes. The charm of the actors at the beginning of the film is sadly lost in its tired extension. If the use of the first sex scenes is not as free at first glance in the context of the love story between Murphy and Electra, the subsequent use that Noé makes of them, which is not ‘ y any narrative evolution of physical relations or cinematographic in the way they are filmed, ends up destroying their magic.

With repeated cuts to the black in the middle of the scenes, like the rushing breath of a Murphy being undressed, a camera films the characters primarily from behind and from not very bright side, the broken voice of an Aomi Muyock that excites and Murphy’s cerebral voice-over saying what he can’t say out loud, Noah’s cinematic language seems to be entertaining. Onanism goes from the game to the camera, to the editing to finally reach the viewer.

There is also the question of the gratuity of some of the elements parachuted in the film, less serious but still relevant: the only text written on the image within a few seconds of the first part of the film, the use of 3D is completely useless except for the ridiculous close-up of a penis ejaculating to the viewer…

Despite its mastery of an interesting cinematographic language, the film is lost behind its director’s arrogance which nonetheless reduces the use of free film from one film to another. Far from a pornographic movie to call it, love will be Noé’s first step towards a new erotic cinema. If, in his subsequent acts, Noé relied on his material and allowed himself to get lost behind his film without looking for challenge.

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