Simple Passion Review Movie
Simple Passion Review
It's a classic tale that has been around as long as time: the desire to be sexual taking away other issues and destroying their life from within. Danielle Arbid, a French-Lebanese filmmaker, spins the is to deliberately strip her love interests of their distinctive features, and taking pleasure in their bodies take over the screen time. "Fucking to you with friends is enjoyable," Alexandre (Sergei Polunin) says to Helene (Laetitia Dosch) during an everyday afternoon session of snoozing between sheets. The place is her house and the plan is that the call is 20 minutes in advance to inquire if she's available. She is always.
Making the film a bet on long love-making scenes an investment which pays off in a few ways. Arbid stands out against fifty Shades Of Grey, and our shambolic history of disguising female pleasure by demonstrating that Alexandre has the ability create a female fall. Laetitia Dosch (a sensation on Jeune Femme, 2017's Jeune Femme) delivers a sensual and committed act of surrender while Polunin walks a acting line as a man caught between love and sanity.
In spite of the sexual intrigue the cipher-like characters in the lead make it difficult to keep the attention of viewers and the sex scenes get repetitive.
The scenes in question suggest that Helene is going to be enthralled. Sexual pleasure is enough for both for the time being, at least at first. Like Adrian Lyne's similar 9 1/2 Weeks that weight Helene put on Alexandre results in neglect in other areas, the most shocking incident being when she is nearly injured by her son, resulting in an angry cameo from Gregoire Colin, who plays the father of the boy.
With all the sexual enthrallement the cipher-like characters of lead characters test the public's attention and make the sex scenes are monotonous. Arbid is able to demonstrate through two scenes in a supermarket with Mills & Boon-style bodice-rippers the idea that Helene as well as Alexandre are just the most recent actors in a tale that is destined to be repeated, but the cost of anonymising leading characters is that they appear far away. Philosophical lines between Helene and a psychotherapist close the film. "Thanks to him, I've crossed the line between me and other people close enough to imagine crossing the line," she says. It's a stance that is honest however it takes too long to arrive.