Espionagem na Rede

A propulsive narrative that thrusts the viewer head-first into a maelstrom of international intrigue. An off-handed confluence between corporate greed and dehumanizing sexual imagery that provides a damning indictment of global capitalism. A protagonist struggling with her morality in an amoral world. A punishing but thrilling rock score, courtesy of Sonic Youth. "Demonlover" is perhaps the best thriller I have seen in the past half dozen years.

For the first hour, at least.

After that, the film lapses into incoherence. No, "lapses" is the wrong word -- it purposefully and strenuously burrows ever deeper into incoherence, sequence by sequence, scene by scene. I have never seen a film fall apart so quickly and so completely. Sadder yet, it is the worst sort of failure -- a failure of nerve. Mr. Assayas seems to have lost faith in the intelligence of the audience and ends up indulging the very qualities he was critiquing -- thoughtless spectacle, facile cynicism, and the exploitation and degradation of women. A shame.

Demonlover is in many ways an interesting movie. The French critics didn't like it, which is a reason on itself to go to see it (the French tend to praise their own stuff most of the time). So, that's what I did. And it leaves you unsettled just like Cronenberg's Crash. Same industrial 'cool' spaces, same underacted performances (Nielsen is brilliant) and all in all a plot that goes off track near the end. When you leave the theatre, you're not sure whether you've seen a good movie or not. So what is it about? Espionage, 3D Manga porn, control & controlled, torture (physically and mentally) and betrayal. Interesting stuff that keeps you hooked on the screen for the first 1,5 hour, but director Assayas overkills the last half hour by adding unnecessary plot twists, unexplained events and an ending that kinda leads to nowhere. Still, the stunning visuals and the Sonic Youth score make it all worth the visit. Also check out Assayas' Irma Vep.

Admittedly, DEMONLOVER makes a sharp left narrative turn at the halfway point that's going to confound viewers who are intrigued by the straightforward (and extremely absorbing) high-stakes opening. But that's no reason to dismiss the many, many things that writer/director Olivier Assayas gets absolutely right. In the end, DEMONLOVER is a fascinating mirror-world reflection (as William Gibson would call it) of where our global society might be just five minutes from now: the fittest who survive will be multilingual, career-consumed and ridiculously chic, but also soulless, as if missing the gene that supplies a sense of loyalty and ethics. The movie is a cautionary, though entirely plausible, tale of humans debased by their own lust for ungoverned capitalism. Every line of dialogue is about the business merger at hand; in the rare instances where feelings are discussed, they're usually about how *work* affects those emotions. The big wink here is that the characters don't even discuss business honestly, because each has duplicitous motives.

Technically, DEMONLOVER is a feast. Denis Lenoir's widescreen photography constantly dazzles -- many of the tracking shots are sustained in close-up (creating paranoia), and the color spectrum appears as if filtered through corporate fluorescence. (The neon-drenched Tokyo sequence is particularly hypnotic.) Jump cuts keep the narrative one step ahead of the audience. Sonic Youth's atonal guitar score creates the same mutant environment that Howard Shore pulled off in CRASH. Most significantly, Connie Nielsen's face (and hair and wardrobe) mesmerizes more than any CGI I've ever seen. Considering the labyrinthine motives of her character, Nielsen's exquisite subtlety may be lost on first-time viewers; on second look, her emotionless gaze speaks volumes.

Audiences (and critics) have unanimously attacked the `problematic' second half as an example of directorial self-indulgence. While I agree that it's not as satisfying as the first half, I don't think it's a total crash-and-burn (pardon the pun). Clearly, the ending is open to thematic interpretation, but I think Assayas is just saying that if our species isn't more careful, we'll end up like one-dimensional characters in a video game of our own devising - sure, winner takes all, but the rest of us suffer enormously.

Narrative ambiguity aside, DEMONLOVER is the great Hitchcockian/Cronenbergian espionage fantasia I've been waiting for. It makes sense that it would come from Europe, since Hollywood forgot long ago how to make their assembly-line genre exercises intellectually stimulating. (Like the animé porn within the story, Hollywood movies today represent no more than a calculated corporate commodity.) More than any other film from the last 2½ years, DEMONLOVER seems a product of the post-9/11 world - a not-so-distant future where overwhelming paranoia goads us to preemptively eliminate any form of potential competition before it can do the same to us. And how in doing so, we devour our own tail.

I expect this movie's reputation will grow by leaps and bounds in the coming years.

Connie Nielsen is an industrial spy, infiltrated in big international corporation searching for secret information and trying to sabotage their last project DEMONLOVER.

DEMONLOVER is the name of a web site/3D porn anime/game. Well it is never too clear what exactly it is but you have a long glimpse at what it is inside (basically violent and highly sexual anime and 3D computer generated images).

However, been an industrial spy is not as easy as it may seem, particularly when three or four corporations are competing and very unscrupulous higher minds are manipulating the game and players. Almost everybody that has or had some relation with a major corporation, knows how greed, corruption and desire for power move everything inside, so nobody will deem unrealistic when people have to die to achieve the company business plan.

During the whole setup and presentation DEMONLOVER shines as the best real world spy movie seen lately, but sadly, the second half lose strength and the story get nowhere. Some scenes and storylines have not continuity (like a piece is cut or missing during editing) and the end is disappointing and unnecessary.

The movie is however worth watching. The acting is very good and for a French movie, most actors are well known in America like Connie Nielsen or Chloe Sevigny. The music score is excellent as most technical aspects and international locations (the movie was shot in France, USA, Japan and Mexico). The story is quite original and the suspense carries you until the end. It could easily pass as a decent thriller (albeit the superb it started as).

It is worth mentioning, that some things could endanger it commercial success. There are not good guys; just bad or worse and the main characters are women (men characters are accessories here). A few people could get upset for some porn (anime and human) showed during the film, but because that part of the story occurs in Japan, the gross scenes are digitally shadowed.

I have never seen an Olivier Assayas film before.This was just a visceral load of imagery that I didn't want to stop!

All of these images before you. Corporate power, double crossing, hentai anime, and interactive torture websites all come together to form something that might mean different things to different people. The performances are great though. Gina Gershon (Showgirls,Bound,Face/Off) looks better then ever only problem I wanted to see her more. Connie Nielsen in the lead role is awesome as the corporate mole/ice queen. I'm surprised that was the same actress in Gladiator and One-Hour Photo. And Chloe Sevigny is quiet but assertive at the same time.

If your tired of all the same exploding cars and sappy romantic comedies lately, come check this one out. You'll be pleasantly surprised