Cannes Film Festival 2015 Day 8 ½: Sex in 3D

Klara Kristin Cannes film festival 2015

Klara Kristin at the 2015 Cannes film festival

Following Jia Zhangke’s Mountains May Depart which ended on a standing ovation, one of the festival’s most-anticipated films, Gaspar Noé’s 3D romp Love was finally screened, keeping Cannes’ perverts journalists up in the wee hours as it debuted 45 minutes late, around midnight. The movie was introduced by the festival’s president as well as the filmmaker and his cast who came on stage wearing prized 3D glasses.

The first thing we can say about Mr. Noé’s latest provocation is that the 3D doesn’t bring much to Love, which is mostly 2 hours and 15 minutes of sex scenes with a thin narrative thread – a love story – being used as a pretext for all these stunts.

We follow diverse partners having intercourses in various places while a beautiful photography and a trendy soundtrack – from Led Zeppelin to Death in Vegas – supports the ensemble. Of course Mr. Noé injects movie references – for example Kubrick’s 2001 – and humor – he plays an art gallery owner and he once again attempts to create a work free of any formatting rule. He might still be some kind of punk filmmaker but, at its core, his vehicle doesn’t have much to say.

The question is to figure out whether Love is just some vulgar porn flick or an unbridled art film. His fans know what to expect, the filmmaker having made his mission to provoke spectators throughout his body of work, from I Stand Alone’s nauseous character to Irreversible’s graphic violence and Enter The Void’s gynecologic sequence. In this day and age, his latest sex adventures however tend to fall flat, the Internet having opened the door to an easy access to sex. But it’s probably also because he doesn’t bring anything new to the table that he can’t convince us, several art movies having already paved the way, from Lars Von Trier’s The Idiots, Anti-Christ, Nymphomaniac to Michael Winterbottom’s 9 Songs, John Cameron Mitchell’s Shortbus, Vincent Gallo’s Brown Bunny, Carlos Reygadas’ Battle in Heaven, Larry Clarke’s Ken Park and Philippe Grandrieux’s A New Life. In the end, Love seduces more with his photography, soundtrack and editing than with its bodies (read our full review of the movie here).

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Moland Fengkov

Moland Fengkov

Based in Paris, Moland is a journalist and photographer; He is more particularly responsible for covering the Cannes film festival for Plume Noire, writing movie reviews and taking gorgeous pictures.
Moland Fengkov

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