This review of Olivier Assayas’ Demonlover is part of the New French Extremity Retrospective series.
The premise of Olivier Assayas’ 2002 film Demonlover sounds like that of a sleazy exploitation film: business suits battle over the corporate control of violent online pornography, some animated and some far too real. It is a similar premise to the 2008 American thriller Untraceable. One could call Gregory Hoblit’s film a remake if the cold-hearted white collar types where replaced with agents of the law.
But Demonlover is much more fascinating without the white hat of the law. In the film, the law is so far removed that it feels as though these executives could do whatever they needed to Continue reading Demonlover (2002) Movie Review
Golden Exits is a film about the over-lapping lives of people they don’t make movies about, as admitted by the film itself.
Nick (Adam Horovitz), a mild-mannered archivist, is married to the increasingly depressive Alyssa (Chloe Sevigny), who is sisters of Gwen (Mary Louise Parker), a client of Nick dealing with the death of her father, who has an intimate relationship with the mentally troubled Sam (Lily Rabe), who is friends with consoling Jess (Analeigh Tipton), who is married to her boss Buddy (Jason Schwartzman). And all wrapped up in this is a young Australian woman abroad in New York (Emily Browning).
Browning’s Naomi is a character that the film touts as a glorified siren, a sexual object to tempt Continue reading Golden Exits (2017) Movie Review