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Entries in Gaspar Noé (2)



Directed by: Gaspar Noé
Released on: October 30th, 2015 [LIMITED]
Grade: 4 out of 5 meatballs
Reviewed by: John Esther 

Nothing should be surprising when one goes to see a film by writer-director Gaspar Noé (Irreversible; Enter the Void). In the opening scene of his latest film, Love, a woman named Electra (Aomi Muyock) and a man named Murphy (Karl Glusman) are fingering the genitals of each other. His cock is as hard as rock (a stiffy in cinema!) while she is just squeaky wet. The scene does not end until he ejaculates — money shot and all.

Clearly, the two are in love.

With the cinematic blink of an eye, which Noé used masterfully in Enter the Void, Murphy now occupies his bed with Omi (Klara Kristen). It is New Year's Day and their son, Noe (Jean Couteau), is screaming in the other room. As Murphy goes to retrieve the boy, we learn Murphy is suffering from veisalgia (AKA a hangover) and has been hung out to dry up in a relationship he does not want.

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Enter the Void
Directed by: Gaspar Noé
Released on: September 24th, 2010 [LIMITED]
Grade: 5 meatballs
Reviewed by: John Esther

Enter. Friedrich Nietzsche’s eternal recurrence; Stanley Kubrick’s 2001: A Space Odyssey; George Bataille’s Erotism; Velvet Underground’s “Heroin”; Arthur Schopenhauer; The Germs; Candide (Voltaire); David Lynch’s Inland Empire; Ultravox’s “Western Promise”; Akira Kurosawa’s The Bad Sleep Well; Yasujiro Ozu’s Tokyo Story; Radiohead’s There, There; Sofia Coppola’s Lost in Translation; Ingmar Bergman; Ingmar Bergman’s Thirst; Beatles’ “Within You, Without You”; Michelangelo Antonioni’s phenomenal final tracking shot in The Passenger; the over-the-shoulder viewpoint works here as opposed to Darren Aronofsky’s misdirection in The Wrestler; those cowardly critics in the trades; Ultravox’s “I Want to Be a Machine”; Oliver Stone’s Natural Born Killers; Richard Kelly’s Southland Tales; this makes those tracking shots in Wim Wenders’ Paris, Texas all the more boring and seem light-ed years away;

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