Belgium runtime - 2Hours, 15minute genre - Romance 2015 scores - 36384 Vote

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Love songs. Love sac. Love match. Lave linge whirlpool. Love talk. L c3 b3ve review. Love thy woman july 9 2020. Love simon. Lave vaisselle. Lovesac. Love poems. Love don't cost a thing. Pamkutya lóverseny. Lóve jakub kroner. Lovesvg. Love me tender. Love valley nc. Noé has never been one for making upbeat, happy films and Love is no different. It is, in essence, a love story, but moreover a lust story about how we can become imprisoned by our emotions via our need for validation and fulfilment. We can become captive physically, emotionally, situationally, psychologically.
Love is told in typical Noé fashion: starting with the most recent events, it draws us rearward in time through a series of flashbacks before simultaneously presenting us with the root cause of the dire consequences the past has wrecked for the main character, Murphy. Murphy is an American in Paris in film school. One day he meets the beautiful artist Electra at a party and the two find that they have similar views on love, life and a shared need for intensity. They quickly form a relationship and their sex life is very healthy: they have sex frequently, intimately, closely, Electra at one point challenging Murphy to show her just "how tender" he can be. Unfortunately, acting out their sexual fantasies ends up proving the demise of both their relationship and their freedom when they have a threesome with Omi, a slim, pretty 16 year old blonde who moves in next door. Murphy continues a relationship with Omi behind Electra's back and Omi falls pregnant, deciding to keep the baby since she is "pro life" in contrast to Murphy who is "pro choice. Electra and Murphy split, leaving him to bring up the child in his own flat with Omi, a situation with damages his freedom and his creativity, eventually leading to depression. Electra disappears and becomes uncontactable, most likely committing suicide, as she threatens to do if the relationship between her and Murphy collapses.
The film heavily centres on the duality of the past and the present. Within Murphy's Paris flat, the past is usually lit in red, emphasising excitement, sexuality, passion, danger, risk. The present, on the other hand, is lit in green, a safe, benign, calm, but slightly sickly colour being the opposite of the libidinous red. The 'red' scenes are mostly at night whereas the 'green' scenes are in daylight with rain pouring down outside, signifying the sadness of Murphy's inescapable situation. When Murphy is with Electra in the flat the flat is a mess: it is full of film posters, books everywhere, it is a very much an artist's flat. With Omi it is stark, organised, clean, controlled. It is the flat of a family man disciplined by his situation and his female. Murphy feels constantly trapped, keeping one shelf of his 'old life' tucked away in the corner, his old life made entirely of memories of Electra. On the shelf is a VHS (not a DVD, again signifying age and format change) of Noé's first film I Stand Alone, a nod to times gone by, personal development and the fact that, in the end, we are indeed all by ourselves. Murphy remarks in his mind that when one invites a female to live with them it's like "getting in bed with the CIA" absolutely everything is known, there is no privacy, no identity and little freedom.
Of particular note is the sex in the film, which is explicit and frequent. This is typical of Noé, he presents real-life situations unglossed by some ultimative veneer. The sex in the film is not only meant to titillate but to show intensity and intimacy and the beauty of closeness between couples. It draws us into the moment, as it does the featured characters. But it also shows us the difference between types of sex (and types of love) when Murphy and Electra are alone enjoying each other it is beautiful, close, almost enviable, but when they have their threesome with Omi it feels awkward at times, forced, maybe not how they imagined. At one point in the long sex scene with Omi Murphy penetrates Omi from behind with Electra enjoying her on the other side: in this way it is the start of Omi 'getting between' the two of them.
In essence, as with so much of Noé's work, Love is a warning. It is a warning about the consequences of making bad choices. The backwards-style storytelling shows how Murphy gets himself trapped in a situation through nothing but his own lust for Omi – it is entirely his fault after all – and as he says the only thing he is good at is "f- ing things up. In the process of following his emotions, his own lust and need for intimacy, he throws away his relationship with Electra, his creativity, his old life, whereas Omi also falls prey to her emotions by deciding to keep her child (her reasons for being pro-life whilst also being a meat-eater appear emotional rather than rational too, when challenged by Murphy on this point she has no reason other than "well, it's different. br> At the end of the film Murphy fantasies/reminisces about holding Electra in the bathtub of his flat, where in reality he is now holding Gaspar, his child, with Omi outside in the hall, outside of his subconscious. The borders of the screen shrink to a square to emphasise the captivity of his situation, the white tiled walls of the bathroom, where his happy memories of Electra began, appearing now like the walls of an asylum or a concentration camp. As is told so many times in the film, love is the greatest thing in life. but with great power comes great responsibility. Love of any kind can be beautiful, exciting, passionate and fulfilling, but it carries risks, and mistreated and unchecked, it can bring unwanted results. Love is more powerful than we often care to admit to ourselves, and with this film Noé is showing us the largely negative consequences of love on freedom. As Murphy is told by one of his ex girlfriends: when you fall in love, you ultimately lose out.

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