1998 ‘Seul contre tous’ Directed by Gaspar Noé
The Butcher has done some time in jail after beating up the guy who tried to seduce his teenage mentally-handicapped daughter. Now he wants to start a new life. He leaves his daughter in an institution and moves to Lille suburbs with his mistress. She promised him a new butcher shop. She lied. The butcher decides to go back to Paris and find his daughter.
Philippe Nahon Blandine Lenoir Frankie Pain Martine Audrain Zaven Jean-François Rauger Guillaume Nicloux Olivier Doran Aïssa Djabri Serge Faurie Frédéric Pfohl Stéphanie Sec Arlette Balkis Gil Bertharion Jr. Rado Nicolas Jouhet Ahmed Bounacir Roland Guéridon Hervé Gueridon Sophie Nicolle Paule Abecassis Marie-Madeleine Denecheau Robert Roy Joël Leculle Denis Falgoux Marc Faure Gérard Ortega Stephane Derderian Alain Pierre Show All…
One Against All, Solo contro tutti, Menschenfeind, カノン, 아이 스탠드 얼론, Один против всех, 아이 스탠드 얼로운, Alene mot alt, Solo contra todos, אחד נגד כולם, Egy mindenki ellen, Sam przeciw wszystkim, Sozinho Contra Todos, Ensam mot alla, Herkese Karşı Tek Başına, Один проти всіх, 独自站立
France
USA
UK
Belgium
Netherlands16
Germany18
Netherlands16
Belgium
France
Germany
Netherlands
UK
USA
it's funny that Noé put the warning to leave the theatre at that point in the film instead of at the beginning where it belongs
We get it Gaspar, you watched Taxi Driver once and you’re an edge lord.
6.0 / 10
This is definitely something Godard would do if Godard was a 17-year old edgelord living in his mom’s basement spending his days reblogging Black Metal memes on Reddit.
Mohamed Radwan's #9 Film Selection for Edgar
Seul Contre Tous is much more than just a sequel to Carné (1991). Way much more…
For those that missed Carné, the film opens with a quick recap of everything that happened in the first installment, and then more. It then moves on with life. It takes less than 5 minutes to realize that Noé is using exactly the same visual techniques that he had used 7 years ago. That is something quite surprising; indeed, what stands out from Carné is its use of editing that assaults the senses quite pervasively: juxtaposition of aggressive images with comedic ones, the sound of a loud “BANG” while making a close-up to an object or person…
the central thesis of most french films is just some insane person thinking about stuff
With "I Stand Alone" the suppressed anger and the deep-seated hatred are released from the human subconscious. These precarious thoughts are allowed to let their unembellished face set free in this movie. Misanthropic and pessimistic, it philosophizes about the social regime and the question of whether people deserve to be happy. All of the protagonist's grief is told in long monologues and you‘re literally overwhelmed by his negative charisma.
Eighty eye-rolling minutes of pointless, manufactured nihilism. Noé masks his utterly infantile misunderstanding of humanity with bold techniques. He borrows shamelessly from Godard, making the only interesting part of the film a shallow reflection of somebody else.
This is just so boring. It’s so tiresome as it piles on vapid disaffection that means nothing and only exists to shock. The boundary pushing approach has the opposite effect to what is intended. It’s all so predictable, so repetitive and regressive that it dulls rather than shocks. No boundary is actually pushed in this mishmash of tired, overwritten cliché.
It also hardly stands alone, feeling deeply indebted to so much cinema, just far shallower. Though, it is better left alone. Pay heed to its title and let it be boring by itself elsewhere.
People think they're free. But freedom doesn't exist. Just laws that unknown people made to protect themselves.
I Stand Alone is an endearing, beautiful, and sometimes difficult viewing experience highlighting the trials and tribulations of Woody Allen's love life.
Oh, how I love the improper stuff. A cynical, world-weary, suicidal ex-butcher with a rich-people complex, intending to purify France by shooting all the wealthy gay Nazi-loving oppressors who have it all while he's left in the gutter to rot? The same butcher quenching his murderous tendencies and finding happiness through a fabricated love-illusion after having sexual intercourse with his own daughter, then a classic Noé-style title card filling the screen, declaring 'MANKIND HAS A MORAL'? Jeez, it was more delightful than a Danish black comedy.
Noé's feature film debut is markedly different in style compared to his later output. Here, Noé's drug of choice is obsession, his rampant camera movement the turbulent internal monologues expressing the butcher's warped worldview.…
