In 2015, director Gaspar Noir, who had worked with Monica Bellucci and Vincent Cassel to sensationalize Cannes with the film "Irrevocable", returned to Cannes with his new work "Love", which focused on the erotic love of a man and two women, and the newcomer male protagonist Carl Glossman singled out the beams, making the film attract much attention. The film was shortlisted for the Midnight Screening section and the Queer Palm section at the 68th Cannes Film Festival.
Carl Glosman
The actresses are Deborah Hevi (Paris Q Lady), Omi Muyuk and Clara Kristin. It is said that the actress Clara Christine was discovered by the director in a nightclub, and the filming of the film made her feel that as a human being, nudity is also natural.
Deborah Hayvi
Omi Muyuk
Clara Kristin
Director Gaspar Noo explains why he shoots real scenes for love movies, despite real love scenes, and Gaspar Noor insists that his much-discussed films are very different from pornographic films. A regular at the Cannes Film Festival, the Argentine-born French director loves to be shocking, rising to fame with 1998's I Alone, about a distraught butcher who was abused by a priest in his childhood, and whose subsequent "Irrevocable" must have been one of the most controversial films of all time. "Love" was in the pipeline long before Gaspar Noir hoped that the then-married couple, Bond girls Monica Bellucci and Vincent Cassel would star.
Monica Bellucci
They oppose explicit sex, which French films don't. Eventually realizing that the stars wouldn't want to star, he found Carl Grossman, an American actor from the Bronx, and managed to convince two French women, Omi Muyuk and Clara Kristin, to participate. "I know we're doing something worthwhile, a real movie about love instead of something dirty," Gaspa Noe said. Even so, is nudity certainly controversial? "Almost every male actor I've ever come into contact with is happy to shoot a particular scene," the director admits. "Men don't have any problems." The casting process must be fun, right? "I didn't show Carl to me, but I knew a girl who slept with him and she said he was 'gifted.'"
Carl and girlfriend
"The director decided to start with a close-up of my private parts," Carr recalls the first day of filming. "I was in the bathroom thinking I should run to the airport and get back to the U.S." Carr said he quickly got used to having at least six people staring at his private parts, and the director's position has long been that he doesn't want viewers to know which parts are real.
The director didn't want actors to star in Love, and he insisted it wasn't. "In what you call 'adult movies,' there's no emotion at all, you never see people kissing or talking about pregnancy, you never see any girl with a period. It's like an independent world that has nothing to do with normal life. "What I wanted to do was present something that was important to me in the film, but it wasn't properly presented for commercial reasons. The film grading system is completely old-fashioned. "So why would an adult want to make a movie without realistic sex?" In most societies, whether they are Western or not, people want to control sexual behavior or organize it in a precise context. Sex is like a danger zone. Sometimes class barriers come down, scaring a lot of people. ”
As Karl said, after a while, sex becomes quite realistic. He plays Murphy, a narcissistic filmmaker who maintains a happy relationship with Electra (Mujok) until a one-night stand with neighbor Omi (Kristen) that leads to pregnancy. Still, he never forgot her and fell into a small apartment in Paris, immersed in his threesome.
Love stills
"Most people experience varying degrees of addiction," the director said. "Sometimes addiction is more self-destructive, sometimes it's less. When we fall in love, something in the chemistry really drives us crazy. The film shows that love is not only a land of joy and joy, but also a land of war and fear. "Of course, power or celebrity is easily affected," and the character wasn't myself, but he was partly me, partly all the other people I hung out with when I was in film school. ”
Love stills
The little screenwriter felt that this was a rare good film, whether it was from the plot, color, or story arrangement, it was unexpectedly good. "True love is gone, the soul is gone". The director expressed this feeling in a very appropriate way, extremely real. Three-person sex, two-person sex, and neighborly sex, sex in a club and a group of people, and beloved sex, all discuss love and sexual puns. A serious, but easily evasive, issue was discussed, and it was a deeper one.
Love itself is a complex level, pure sex is shallow, sex is also mechanical and tedious, and it is not worth recalling, the director uses cool tones, miserable white natural light. Passionate love is chaotic, the director uses a very complex combination of light, flickering light, chaotic crowd, no expression around the surroundings, Murphy's performance is extremely unnatural, eager and afraid, God is not guarded, people regret. But with, the love of sex is warm, is intertwined, is hungry, the director uses hot red, even the dark tone uses green, not blue, the tension of the picture is irresistible, there is a strong sense of substitution, like the male protagonist, even after many years can not resist.
The director handles the male protagonist's expression very well, 2 years ago, he was young, full of charm, and the desire for love, in the face of "sex", reflected the impulse that any young male should show, completely unrestrained on his own behavior, indulged his emotions..., two years later, his expression seems to be a corpse, only when recalled will be full of life.....
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