Romance

Though I have a comprehensive review below I wanted to add that some comments here are from people who saw a severely edited version of the film (the sex scenes removed or cropped off). This would be similar to removing the battle scenes from Star Wars.

Someone hit the proverbial nail-on-the-head with Romance. A critic wrote that it's like a "bad update of an Antonioni film", and I think that's about as fair a description as one could ask for. It may also depend on how you feel already about Antonioni and his depiction of the precise lack of love or responsiveness of emotional contact in people - or, perhaps, if you've even actually seen an Antonioni movie. While Catherine Breillat probably (and, I would admit, rightfully) considers herself a thoughtful, passionate filmmaker interested in passionless people and in trying to pick apart the thoughts (or anti-thoughts) of a character like Marie, I have to ask after a while, in a film that doesn't have Antonioni-stature direction or compositions: what's the point? We have seen women like this in other movies, in loveless relationships or going out to spread or fulfill their empty wishes or such with others. Such as, yeah, Antonioni, but others too.

It's frustrating to watch, to say the least, but I wasn't ready at first to hold that against the movie. I wanted to see what it had to say, to see how Breillat would show people just having realistic sex, explicit in depiction (naturally, and believe you me its real sex) and talking like couples (or not-couples) do in such situations. I tried to stick with Marie's self-analyzing, her self-aggrandizing thoughts expressed in the first-person narration. In an odd way Caroline Ducey gives a good performance, or better than I remember at the time watching it, since she is good enough to not really need the narration to fill in the audience. Her face, her lack of expression, her inverted and bored and, perhaps, deep down f***ing scared self, show enough. The telling becomes overkill, even from a psychological stand-point.

Some may not agree with this, and that's fine. Some may watch Romance and just love that it shows real people having problems and having such problems during real sex. For the first half I could stick with the movie even as it had its pretensions because I wanted to see where it headed with Marie's infidelity (with the unnecessary lie about being married). It's when the other guy at the school Marie teaches at, and takes her in and turns things up on the sado-masochist meter that I started to waver on it... and, odder still, got bored. It didn't interest me seeing how perverted this guy could get, or how accepting Marie was of it or how it was shot or scored or edited. I admired that it attempted at depicting such a torrid sexual situation so seriously, but it ultimately just didn't do it for me - not on the kind of level the old-school hardcore-serious-erotic films did (i.e. Last Tango in Paris).

Romance is intelligent, and it does have something to say about women and loveless relationships. But was I moved by any of it or intellectually engaged after a certain point? No. It's a movie in a limbo where it wants to have something important to convey through art no matter what the cost, but the points aren't as interesting as its filmmaker thinks or terribly original. And if you just want to watch it for the sex, you're in for a not-too-good surprise. 5.5/10

(this is a repost... the other review I posted was somehow missing a part)

In a perfect world, my opinion of ?Romance? would sound more or less like this. This is a fairly interesting film about the crisis in a couple relation that, in some sense, manages to come up with some interesting and quite universal statements about the couple relation qua relation and qua adaptation to a life of routine after the initial sparks. The desire of the woman to test her sexual boundaries should be seen, I believe, in this context, together with the final realization that, after all, even a bondage experience can be as banal and squalid as everyday life. The film is quite typically French: more spoken than physical, with the kind of conversation that French films seem to favor: too intellectual to be spoken by real people in real life, but grounded enough to make you wish that you and your friends could speak like that. It is probably not as good as ?la pianiste? but, then again, not many films are as good as ?la pianiste.? It is, however, an interesting analysis of a situation common to many couples.

This, as I said, in a perfect world. Alas, this is not a perfect world and, somehow, the question of the sexual content of the film managed to dominate the question about its contents. Most of this, I must say, comes from the barbaric and puritan America, my country of adoption. To the more relaxed Europeans, I must point out that this is a country in which, on television, it is normal to see ?reality shows? with murder scenes, car crashes during high speed pursuits, and violent arrests; it is normal to see in prime time films with violent content that glorify the army and the ethos of war. Yet, it is illegal to show a woman?s breast, and curse words that in more liberal countries are considered quite normal are invariably, and audibly, beeped. The sense and the moral choice behind all this escape me, but this is the background that one should have in mind to understand the outrage of some Americans in front of this film.

Outrage which, I must say, is quite misplaced. With the exception of one or two scenes, the sex in the film is not very explicit and, even including the more ?racy? fellatio scenes, it is no more explicit that in Bellocchio?s ?Il Diavolo in Corpo,? which I saw (uncut) on Italian TV (quite late at night, to be honest).

This outrage, however, and the puritanism that generated it, give this film its true significance, beyond the plot and the acting: the reversal of the traditional Hollywoodian standard. The essential fact about this film is that, while sex is depicted with immaculate candor (without, I must add, the lewd and voyeuristic aspects of Hollywood?s depiction), violence is symbolic, hidden from view. The only violent death of the film is in an explosion that we only see from afar in a very sanitized version, the dead body is never shown, and the Fellinesque funeral points to the unreality and the absurdity of the whole occurrence.

If a political message should be derived from this film, is a rejection of a culture that is trying to make sex unacceptable channeling sexual energies into violence, which is so often and so absurdly glorified and depicted into every gory detail. The call for sex versus violence implicit in the editing and the direction of this film is, I will add, a very healthy one.

Not a great film, but a fairly good one. Recommended.

Romance achieved a lot of attention in Australia as it was initially banned. Now it's available from any decent video store so every adult can see what the fuss was all about. I think few of them will be able understand why the censors had so much problem with it. Basically you have several hard-ons and a bit of bondage in the middle of a talky French art-house movie. The fundamental problem with Romance is we can never understand what Marie sees in Paul. It's as simple as that. If we COULD understand then perhaps we'd have a provocative and thought-provoking examination of love, sex, loyalty and betrayal. But we don't. It's not to say the movie isn't worth watching, just don't expect too much. Last Tango In Paris was much braver and confronting (albeit less explicit) nearly thirty years ago. Closer to home, Breaking The Waves shares some similar themes and situations, and is a much more successful and emotionally involving experience.

I was very confused at the end of 'Romance' as to whether I liked it or not, and whether I thought it was a good film or not. The best bit for me was probably the Q&A with director Catherine Breillat at the end. She was (especially with the help of a translator) very interesting and articulate - whether one agreed with her or not - and I found the film a valuable commentary on her thoughts rather than the other way round.

The film is confusing; as we are aware, this is not pornography - but what *is* it about? Gender issues? Masochism? The female central character goes through a number of extreme sexual encounters and eventually finds some sense of identity unrelated to her sense of being part of a sexual partnership - although the struggle to find that identity has necessitated exploring her sexual desire. The other issue is censorship, as Breillat has something of a mission to push back censorship; this is related to her philosophical take on sexuality however rather than abolishing censorship for the sake of doing so alone. That which (sexually) disgusts us is twinned to that which (sexually) uplifts - the difference is not in the type of act but in the context - all of which is an extended metaphor on censorship itself. Breillat claims that the acts we find offensive in real life are also the acts we find offensive in images, an idea which in itself can lead to some self-awareness. But to Breillat, sexuality has become stereotyped in films. Show she wants to explore the boundaries and show that those boundaries, in themselves, are not good or bad, just as many acts, stereotyped as disgusting or wonderful, are not so in themselves but only in how we make them.

The degree to which she achieves this in 'Romance' may be the subject of debate for a long time to come. I hope I get the chance to see and study some of her other films. I hope the film is not cut by the censors. As to whether it is a great movie, I am less sure (after a lot of discussion and thought I'm slightly more inclined to say it is than it isn't though!) As I am gradually convinced of the director's unshaking artistic integrity I am more willing to put in the effort to understand her rather complex thought. As her film is her principle expression of this thought I have ranked it quite highly - largely for what she attempts, with whatever success, than what she achieves. As Sartre pointed out, success is more in the journey than the achievement.