135 min;
Directed by – Gaspar Noé;
2015;
Juan Saavedra, Aomi Muyock;
Creator – Gaspar Noé

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There’s a moment when the protagonist, American ex pat Murphy, tells his Parisian girlfriend, Alektra, that the police officer understood him and wants to have a beer sometime. This is all after a public altercation fueled by jealousy and alcohol that leaves the audience wanting to dump Murphy as well in that moment.
And yet the policeman actually does share a beer with Murphy later in one of the film’s more poignant scenes, sharing understanding as mutual and not simply one way or curtailed by gender stereotypes.
Gaspar Noé’s ‘Love’ is a film that thrives on shock, sentimentality and a relay of connotations. Everything is in a relationship; the characters and the big ideas it looks to tackle. There’s a cynicism voiced in this film against extreme, contemporary western views (mainly American) which in a sense liberates the stigmas one might have towards perceived French social norms: love, sexuality, self expression and most importantly tact or manner.
I found myself lulled by the ongoing and over-extended sex scenes, — shot beautifully by the way — rather than anything gratuitous coming from them. It’s interesting to note that in both scenes where relationship complications arise and are dealt with, as well as the (make-up) sex, everything in these moments are left to their devices, almost playing out in real time, allowing a greater sense of empathy for the audience, even if what’s on the screen is severely perverse and daring, if you happen to be a sexually active, romantically charged human being, then the director seems to take a nod in saying “Hey, this is real life.” Letting these moments play out feels more thoughtful than overly intellectualizing them, almost as if to excuse the t&a/c&b, something Lars von Trier felt more necessary in 2013’s ‘Nymphomaniac’ a film which will undoubtedly draw comparisons, though Love shouldn’t be mistaken as such; there’s no high stakes, money or power play. It’s just all a bit complicated and messy. But brutally honest nonetheless.
Murphy can be a little nonredeemable at times, one of the few protagonists in a while worth caring for, but hardly worth rooting for, especially when he’s coming in your (the viewer’s) face. It’s good this movie isn’t shot/screened in 3D. Also the characters are at times lost for words. as if there is a complete absence of script. This isn’t an all bad thing as it makes the interactions feel more natural, however a repeated cycle of “I hate you! for about 3 to 5 minutes straight starts to feel like a fill in the gaps exercise.
Overall this film is art/indie cinema when it works best. You feel the director completely and utterly devoted to style and substance without sacrifice on either part. The casting is done well and through all the nudity no single actor or actress is relegated to feeling like they’re shooting porn, something I feel a lot of critics and PC audiences will claim in their shallow analysis.

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