She promised him a new butcher shop. Yes, he made a short for the sexually explicit Destricted project, and yes there are the condom commercials from years back, but Mr. That advice didnt work out so well. Indeed one can hardly imagine anybody else playing it. Those that he is most threatened by in reality offer little danger; and perhaps could instead offer friendship or even assistance. I wonder what the late Samuel Fuller — perhaps the filmmaker most interested in hatred and how it functions — would have made of it. In prison, the Butcher has sex with a cellmate.
For many, his films are too obscene, too garish and too repulsive: existing purely as provocation. The butcher decides to go back to Paris and find his daughter. Vincent Cassel and Monica Bellucci, who were the golden couple of French cinema, want to make it. I Stand Alone is true savage cinema -- a grim, exciting, nerve-wracking work of art that doesnt just stick in your brain, but finds a way to get all five fingers up there too. A brilliantly disturbing film, unlike anything I have ever seen. Orphaned at a young age, he was sexually abused by a priest.
The movie jettisons us to 1980 and into the head of said butcher embodied magnificently by Philippe Nahon , who, now released from prison, is living an emasculated life with his pregnant girlfriend and her obtrusive mother in a depressing housing tract in France. Noé apparently expanded this material from a forty minute short, and it shows in its thematic simplicity. And he doesn't regret it. When his mistress unjustly accuses him of having an affair with the nurse, he snaps and punches her in the belly several times, very likely killing their unborn child, then steals a pistol and flees. Many of The Butcher's thoughts are intensely provocative and refreshingly, fearlessly insightful and profound.
Gaspar Noé is one hell of a filmmaker. When first reviewing the blisteringly brilliant picture, I quoted an anecdote by director Paul Schrader. This film is not for everyone -- that's for sure. Topping the list of his disturbing films: Moebius. Discovers at six that his father was a French communist killed in a German death camp.
The camera is usually stationary throughout the film, but this trend is sometimes contrasted by abrupt, rapid movements of the camera. She promised him a new butcher shop. For one thing, it conjures up a surrealist image of a redemption race in which all potentially redemptive films since Pickpocket leave the starting gate at the same time and only one is declared the winner. Also, both films have extremely violent climaxes that, thematically and psychologically, resemble the male orgasm gone psychotic. If for nothing else, Noe can be celebrated for delivering originality into a medium which often feels like it has exhausted possibility for authentic innovation.
In French with English subtitles. Somehow, in many ways, we are -- which points to the film's mind spinning, confusing power. But, like an animal, he chooses his targets arbitrarily and impulsively. Now he wants to start a new life. Wasting no time, Noé thrusts his audience into the gruesome reality of the slaughterhouse by juxtaposing a shot of a horse being butchered with the image of a wad of red meat on a plate. He leaves his daughter in an institution and moves to Lille suburbs with his mistress.
The director, heavily influenced by '70s cinema, William Castle shock-a-tude, pornography, Godard, Céline, Nietzsche and as I have argued, whether he knows this or not , even Thomas Hardy, was the great Gallic hope for a new generation of savage filmmaking. From here forward the voice never leaves us, moving relentlessly forward with its declarations of gloom and anger. This just adds to the disturbing, uneasy atmosphere that the film creates. Soon after, he argues bitterly with his mistress and, in one of the film's most brutal moments, beats her, kicking her pregnant stomach this is when the aforementioned female critic left the theater. Five weeks later, we were shooting this movie, but it was like a bank robbery. Cynthia grows up mute and apparently retarded, and her father becomes sexually attracted to her when she reaches puberty.
He later understands that the stains were only menstrual blood. And it is at this point, that the film's existential loathing gives us our first challenge: The man we felt immediate sympathy for, the cantankerous oldster who has made us laugh with his stark philosophical observations, has finally committed a sickening act of violence. He is the son of Argentinian painter and intellectual Luis Felipe Noé. The films uses an almost identical technique to offer a uniquely encapsulating feeling of shock and distress. The dialogue-free film is as dark and twisted as it gets, with one scene presenting a mother castrating her son and proceeding to eat it.
Philippe Nahon is strong in the central role. The pace is slow and methodical and cut up with a surprising sound affect that makes you jump almost every time you hear it. I suspect the answer is because you can, but that hardly furthers debate let alone enlightenment. It was stupid, but still everybody noticed that I was part of the club so I could not be homophobic while being excited while in the club. And Noé never slips once in this assault, even testing the viewers typical film sensibilities. Whichever choice you make, the movie forces you to squirm at the implications of your preference. More and more isolated, he decides to look for the only person he feels has ever loved him: his daughter.
Like Taxi Driver, I Stand Alone represents a national reflection, here its France entering the 1980s, personifying such unease with an unrelenting, furious protagonist. Noé needed another full length feature under his whipping belt. The butcher decides to go back to Paris and find his daughter. From the psychotic characters to the unadulterated violence, it holds all the repulsion required for the carnival of sensory shock that can be found in a Noe film. I have no idea why Noé chose to plant his story in 1980 rather than the present.