The hunger to love.
Two American newlyweds in Paris experience a love so strong, it almost devours them.
Two American newlyweds in Paris experience a love so strong, it almost devours them.
Vincent Gallo Tricia Vessey Béatrice Dalle Alex Descas Florence Loiret Caille Nicolas Duvauchelle Raphaël Neal José Garcia Hélène Lapiower Marilú Marini Aurore Clément Bakary Sangaré Lionel Goldstein Céline Samie Arnaud Churin Slimane Brahimi Alice Houri Véra Chidyvar Csilla Lukacs-Molnar Nelly Zargarian Rosa Nikolic Lacrita Massix Myriam Theodoresco Alexandre Uzureau de Martynoff Laure Guérard Albert Szpiro
Cool documentary about Vincent Gallo on vacation in Paris.
sex cannibal food pyramid:
/ pussy \
/ (literally) \
An alternately lyrical and brutal vision of desire as pure lust, with cannibalism envisioned as the end result of tossing off one's inner humanity in favor of animal instinct. But then, isn't that what sex essentially is, in some ways? Not that Claire Denis is puritanical about sex; Trouble Every Day is framed not merely as the typical slasher-movie "sex = death" equation, but more as a blood-and-thunder struggle between thought and feeling, scientific detachment and Romantic passion. Certainly, I can't remember the last time I saw a film that featured a shot as uncanny as one here in which the camera roved along the body of a nude male soon-to-be-victim and somehow conveyed both omniscient clinical analysis and chomping-at-the-bit sexual desire at the same time. As annihilating as that desire might be in Denis's world, the film's own tantalizing/disturbing endpoint suggests that it may also be perversely cathartic as well.
what a weird flick
Part of Hoop-Tober
“I want to go home.” “Okay.”
I am not a person who generally remembers his dreams. I must have them, of course. I slip into REM sleep like anyone else. But my dreams, whatever they may be, tend to escape me. Probably just as well. My waking thoughts are enough to deal with as it is.
Occasionally a snippet or two of my slumbering fantasies will remain at daybreak. An image, an isolated moment. Something memorable enough to be remembered—perhaps beautiful, perhaps disturbing, perhaps both—but divorced from context, however surreal or mundane that might have been. It’s frustrating, like finding a puzzle piece with no puzzle; it’s haunting, like a ghost that only stares but doesn’t speak.…
What once struck me as a minor, if still quintessential, Denis film now seems one of her very best. Yes, there is terrifying gore here—I will never shake the scene of Dalle turning erotic bites into murder, the camera increasingly isolating her mouth into a too-large maw of animalism and diastema as her mark whimpers, screams and rattles—but this is not so neat a fit into the New French Extremity as it seems. Above all this applies Denis's deep visual understanding of the tangle of Eros and Thanatos to its purest form, and it should come as no surprise that she plumbs the depths of Victorian tropes to depict this web of eroticized death. Coré is Jane Eyre's Bertha, locked…
The only film where the usage of Comic Sans is valid
can’t say i’ve seen HIGH LIFE, but y’all were surprised by how weird it was when TROUBLE EVERY DAY exists?
Tindersticks provide music that compliment the breathtaking cinematography of Agnès Godard and the atmospheric direction of Claire Denis, making Trouble Every Day what it is, a piece of moving art just waiting to be interpreted.
Besides the stylistic perfection, Vincent Gallo uses his natural creepiness to master the art of being troubled, distraught, desperate and insatiable. This movie suited him so well. And Béatrice Dalle? Everything suits her.
I liked that the vague touch of vampirism was shown in a rather different light. It isn't something to be romanticized, the "vampires" aren't necessarily desirable to the audience and are desirable only for a short while to their victims. They have intense sexual needs which result in visceral desecration, their desires…
the only Trouble i have with this movie is that comic sans title card font
broke: raw me baby
woke: raw (2016) me baby
having a bath and then seeing ur husband standing over you and you realise he's vincent gallo? immediate divorce
Intense and mysterious, terribly sensitive, profoundly delicate and unavoidably violent, this is a daring observation on flesh and instinct, by one side, and on investigation and science by another. It blurs the border between the controlled being, disciplined by moral and institutional education, and those pure, brutal, pre-societal impulses which so commonly get forgotten about; the tie between those seemingly being the quest to break new ground in human understanding about their own body and perception of reality. It’s both about experiment and in itself an experiment, manufactured by Denis in order to awake in us some of the vast and suppressed unknown which recognises itself in the film screen. Also needs to be said that Gallo remains a phenomena in his unique vulnerability display; a great happening in recent cinema history as far as I’m concerned.
Watched on a whim while reading about New French Extremity and saw it was directed by Claire Denis.
Original score by Tindersticks was goooood
Só de ler a sinopse, eu imaginei que seria perfeito pra fazer um double feature com "O Império dos Sentidos", e até foi, de certa forma. O problema aqui é que é um filme higiênico demais. Tem duas grandes sequências que envolvem o gore que se esperaria, mas o restante do filme é absurdamente devagar e parece se dedicar mais a uma pretensiosa construção estética do que à narrativa. Diferente do que a própria Denis faz em High Life, com todas aquelas sequências de fluidos escorrendo e de pura pulsão sexual, Trouble Every Day não consegue traduzir a tensão sexual entre seus personagens para algo palpável ao longo das cenas.
Gostei muito do final, mas é uma jornada e tanto até lá. Não sei como não dormi.
It’s no wonder that, for a moment, vampires were all the rage among teen romance. Their immortality can keep them (looking) sixteen forever; they’re brooding, romantic in an edgy and gothic kind of way, and, most importantly, they’re associated with sex, but not in a way that’s too explicitly sexual. Vampirism itself is obviously an act that’s loaded with sexual undertones; someone coming into your room at the dead of night, placing their lips on your neck, and marking you as theirs. It’s sexual - maybe even a little sexy if that’s what you’re into - but always in a way that feels softcore, palatable, almost as if it sidesteps the inherent monstrosity of turning someone into a vampire. The…
Very strange trip. Very horny, lots of interesting ideas, beautifully shot, but it just didn't quite come together for me.
I really didn't like Vincent Gallo in this role at all, and found him incredibly boring to watch. No intensity or emotion or range at all. His facial expressions basically never changed. Whether he was pleading, reminiscing, masturbating, creeping or murdering, the same flat blank look, always. Unfortunately I think he single-handedly turned me off of this film.
cute romantic films to watch with your partner #2
this is actually the most disturbing shit I've ever seen. very well directed in my opinion, though. my first Claire Denis and I'm not disappointed.
Somehow manages to be both hot and scary yet still kind of a drag??? While my horny vampire flick of choice is still Park Chan-wook’s Thirst, it’s pretty wild that Claire Denis managed to make the perfect adaptation of Armie Hammer’s leaked cannibal sexts a full twenty years before the scandal broke... her mind
i get the feeling had i watched this maybe 5 years ago i would have Loved it.
99.99% tempted to give this half a star for employing comic sans in the opening credits
i still gave this one star because i hate claire denis films and i have no idea why i keep watching them. they have like a really attractive blurb and im like oh maybe this will be different this sounds interesting and then i watch it and the regret creeps in almost immediately
alexa play cannibal by kesha
entre la infame escena del incendio, los gritos desgarra tímpanos —prácticamente animales— de angustia y dolor, la claustrofobia de los encuadres y la fuente comic sans en los títulos y créditos llego a la conclusión de que cabrón está chida...........
Strike two for Claire Denis (I did not care for High Life).
Ugly film all around, from Gallo's stupid fucking face, the bland camera work and visuals, to the goofiest looking credits I've ever seen from a serious filmmaker.
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