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#LOVE written and directed by Gaspar Noé. The film marked Noé’s fourth directorial venture after a gap of five years. It had its premiere at the 2015 Cannes Film Festival and was released in 3D. The film is notable for its unsimulated sex scenes.
Also Known As (AKA): Love: Amor en 3D | Любов | Szerelem | Meilė | Love 3D | Dragoste | Любовь | Ljubezen | 性本愛 | aşk | Sevgi
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Love: Amor en 3D (2015) – Storyline/Plot:
Murphy is an American cinema school student, living in Paris. He had a French girlfriend, called Electra, whom he dated for two years. One day, Murphy and Electra met and had a no-strings-attached threesome with another woman, a young Danish teenager named Omi, as a way to add some excitement to their love life. But later, Murphy had sex with Omi behind Electra’s back, as a result of which Omi became pregnant (the condom broke and she is against abortion). This unplanned pregnancy ended the relationship between Murphy and Electra, and it forced Murphy to live with Omi.
On a rainy 1 January morning, Electra’s mother, Nora, phones Murphy at the small Paris apartment where he lives with Omi and their 18-month-old son, Gaspar. Nora asks Murphy if he has heard from Electra. Nora has not heard from her for three months; given Electra’s suicidal tendencies, Nora is quite worried about her. For the rest of this day, Murphy recalls his relationship with Electra in a series of fragmented, nonlinear flashbacks. Those flashbacks depict their first meeting in Paris; their quick hookup; and their lives over the next two years, which are filled with drug abuse, rough sex and tender moments. Electra’s whereabouts and ultimate fate are left unresolved.
Review of Love: Amor en 3D (2015 Film):
That may sound pretentious, but Noé knows exactly the type of effect he wants to achieve, and he mostly gets it. His biggest gamble is the use of first-time actors to elicit complex emotions. But he builds a complex relationship between Murphy and his viewers throughout the movie, one that speaks louder than the unmoving, shrill line-readings from all three of the film’s principle characters.
The film’s sex scenes are similarly mannered, mournful and distractingly graphic. But they’re not just endurance tests, or frustrating slogs either. Noé wants you to see sex as a cocoon, so he genuinely tries to show you what attracts his young characters to each other. His earnest objectification of actors’ bodies is, in that sense, often compelling. We look at bodies in motion, and see them as body parts first, and then people trying to get lost in each other, to give each other pleasure, and to remain lost in sensations that will always remain mysterious to anyone who isn’t experiencing them first-hand. “Love” may not always be enjoyable, but it leaves an abiding mark.
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