Catherine Breillat
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Initially, Marie's hollowness is a virtue she'd like to hold on to as if her passivity is as complicated and deceptive as the women in "The Story of O," or "Last Tango in Paris," in which Breillat appeared.
Because of its sexual content, Romance is being compared to Last Tango in Paris and In the Realm of the Senses , but its microscopic focus on a single characters psychological state ties it to films such as Cleo From 5 To 7 and Repulsion .
Because of its sexual content, Romance is being compared to Last Tango in Paris and In the Realm of the Senses , but its microscopic focus on a single characters psychological state ties it to films such as Cleo From 5 To 7 and Repulsion .
Romance isn't quite as hardcore as all that, but it is significantly more explicit than the more recent Italian sexual cause celebre, Devil in the Flesh (1987) -- which notoriously featured a brief, dark scene where Maruchka Detmers gave Federico Pitzalis a half-hearted blow job on camera.
(Maruschka Detmers is the only other candidate who comes to mind, but Romance makes even Devil in the Flesh look tame.)
Cribbing more from the cringey French dramas of Catherine Breillat (think: a less perverse Fat Girl ) than the warm and fuzzy ‘80s staples of John Hughes, Eighth Grade is the painfully real attempt at comprehending what it means to grow up in a generation overwhelmed with information, which in turn transforms nearly everything about the process into a competition (even more so than it organically is).
It’s important to note that Burnham isn’t making Fat Girl here.
The very sexual scenes that make up the bulk of Romance's running time are more explicit by far than anything to come from mainstream world cinema since Japanese director Nagisa Oshima unleashed his In the Realm of the Senses on the world back in 1976.
Mitchell isn't going for the end-of-an-affair melancholy of Michael Winterbottom's "9 Songs," or the cherry-bomb bravado of Catherine Breillat's "Romance."
The brief but stormy history of hardcore sex in mainstream movies is littered with earnest attempts at making real-life screwing work in the service of a story: take Catherine Breillat's decidedly unerotic Romance, Michael Winterbottom's cooly observed 9 Songs, or Vince Gallo's ridiculously arty Brown Bunny.
Catherine Breillat’s lugubrious Romance, costarring porn star Rocco Siffredi; Bruno Dumont’s dour Life of Jesus; and Marco Bellocchio’s psychological and political diatribe Devil in the Flesh also included some graphic sex.
In recent memory, films as diverse as Lars von Trier’s Idioterne (1998), Catherine Breillat’s Romance (1999), Virginie Despentes and Coralie Trinh Thi’s Baise-moi (2000), Patrice Chéreau’s Intimacy (2001), Michael Winterbottom’s 9 Songs (2004), John Cameron Mitchell’s Shortbus (2006) and Abdellatif Kechiche’s 2013 Palme d’Or winner Blue Is the Warmest Colour have all variously attempted to bridge the divide between art and pornography (or, as it is more quaintly known, “erotica”).
Murphy expresses a desire to replicate "sentimental sexuality onscreen," a feat already accomplished in more ambitious projects ranging from John Cameron Mitchell’s "Shortbus" to Catherine Breillat’s "Anatomy of Hell," both of which explore the prospects of intercourse to communicate real ideas.
Twenty years ago, this movie would’ve been as scandalous as Catherine Breillat’s “Romance,” and doomed to the same distribution woes, but in these ultra-pornified times it doesn’t feel transgressive so much as it does a forensic analysis of something we see all the time — less “Debbie Does Dallas” than “CSI — the Valley.”
But unlike the dour and impersonal graphic sex in French films, such as Bruno Dumont's La Vie de Jésus or Catherine Breillat's Romance, here the connection is intimate, and in at least one scene, clearly enjoyable - at least for Matt.
Previous attempts at incorporating unsimulated sex into fictional film (such as Catherine Breillat's "Romance") have been largely unsuccessful, coming off as exploitative and voyeuristic.
Though Winterbottom doesn't say so, this realism in sex has been a European art film trend for several years, mostly with French directors like Patrice Chereau ("Intimacy") and Catherine Breillat ("Romance"), though American Vincent Gallo did his bit for the cause with "The Brown Bunny."
Every few years, film festivals are (predictably) rocked and socked by some new affront against good taste: there was the protracted rape scene in Gaspar Noé's Irréversible ; the teenage sex, drugs, and AIDS in Larry Clark and Harmony Korine's Kids ; the full frontal sex in Catherine Breillat's Romance ; the nudity and cannibalism in The Cook, the Thief, His Wife, and Her Lover.
It's almost a parody of a foreign film like Pedro Almodovar's excellent Tie Me Up! Tie Me Down! (1990), which is all about sex on the surface, but also explores love and trust issues around its sex story and does so with wisdom and humor.
Inception (2010)
Directed by Christopher Nolan
influenced by Romance (1999), Anatomy of Hell (2004), Bluebeard (2010)
French filmmaker Catherine Breillat used to scandalise us with naked actors doing naughty things on camera (Romance, Anatomy of Hell).
French filmmaker Catherine Breillat used to scandalise us with naked actors doing naughty things on camera (Romance, Anatomy of Hell).
She has gone into reverse with The Last Mistress (2006) and now Bluebeard.
Catherine Breillat's Fat Girl and Louis Malle's Pretty Baby are unstinting in their honesty while retaining awareness of the sensitivity of their subject matter.
These two incidents are linked and Naval Captain Marco Silvestri (Vincent Lindon, "La Moustache," "Mademoiselle Chambon") gives up his post to return to Paris and to help his distraught widowed sister Sandra (Julie Bataille, "Paris, je t'aime") and his abused niece Justine (Lola Créton, "Bluebeard," "Something in the Air").
Sort of like Emily Watson in "Breaking the Waves."
In a pale mimicry of Breaking the Waves (1996) she begins to take other lovers and explore more twisted avenues of sexuality, such as being tied up, or being raped in a stairwell.
With this luridly beautiful film, Araki graduates into the company of such explorers as Todd Solondz ("Happiness") and Catherine Breillat ("Fat Girl").
In a sequence that recalls "The Devil's Rejects" with its rundown desert motel, Treadie watches the woman who's caught his eye, Sheila (Roxane Mesquida, "Fat Girl"), get into her shower.
Its primary obsession: a French tourist (Fat Girl’s Roxane Mesquida) lodging at a seedy motel.
Like a number of recent French movies, "Irréversible" pushes the edge of the sexual envelope, the difference being that unlike his gutsier contemporaries, directors Catherine Breillat ("Romance") and Claire Denis ("Beau Travail"), Noé isn't concerned with subverting the status quo.
In essence, Secretary takes you into the same murky corner of the human libido that French director Catherine Breillat's R-rated film Romance explored a couple of years ago, although Shainberg is not nearly as solemn about his findings.
Red Riding Hood (2011)
Directed by Catherine Hardwicke
influenced by Bluebeard (2010), The Sleeping Beauty (2010)
Themes
For starters, she could check out " Bluebeard " and "Sleeping Beauty," fairy tales for grown-ups by French director Catherine Breillat .
Like an idiot, I came to this movie hoping that director Catherine Hardwickeâwho made her debut with the bad-girl shocker Thirteen (2003)âmight engage in a feminist interrogation of the old fairy tale, just as French filmmaker Catherine Breillat has with Blue Beard (2009) and The Sleeping Beauty (2010).