1998. libido Cedric Kahn definitely has taste and audacity. Carefully and effortlessly, he dared to compete in style with Godard and Woody Allen themselves. At the same time, fully withstanding the thread of the narrative and the corresponding tension, he very exquisitely, slightly noticeably with the largest caliber of sarcasm shoots all this intellectually sublime background, which has been in fashion since the 60s. Ruthlessly, accurately and clearly, he leaves no chance to the main character - the neurotic intellectual. It could be Michelle Poiscar or Mad Pierrot. It could be any character played by Woody Allen. Very exquisitely, this character turns out to be completely neutralized by his own desire, a fierce libido, which quite unexpectedly for the hero himself broke off the chain to the very end and could not calm down. I fell in love with a young girl. Well, what else to do a single man from whom his wife left six months ago? By the way, I'll tell you, that's a thing. Ariel Dombal very accurately showed a notebook aristocrat, moderately sexy, moderately refined. Straight, the personification of Ellen Bezukhova. Applied misanthropy.
At first glance, the object of this understandable love is completely unobvious. Not only is our heroine somewhat young to put it mildly, for all that the main character has to offer her. She's not elegant at all. A lot of people will say, une femme ordinaire. And here, we must pay tribute to the creators of the tape. The choice of the main character is just perfect. Sophie Guilleman is not just organic and professional. She's just that woman. A little extra weight, understandable cuteness, a large bust, a little more fashionable massive thighs. Rubens' heroine. Simple, silent, ready to be sincere even when he lies. Sweet selfish and ready to sacrifice Hera, at the same time. This lively tangle of many elusive contradictions simply drives the main character crazy. However, to a certain extent, she is honest and, albeit with a bit of cunning, is quite ready to accept the desperate flow of intellectual constructions, jealousy, and even share her other love affairs. The young actress, and this was the debut for twenty-one-year-old Sophie, with apparent ease withstands numerous erotic scenes, not a drop replaying or shifting psychological accents.
And, of course, the absurd conventionality of the played combination makes the viewer smile, representing either irreconcilable class contradictions, in which the intellectual elite, despite its complete apparent superiority over the working class, ultimately turns out to be completely untenable and unprepared for ordinary dialogue, or recalling certain awkwardnesses associated with the manifestation of libido that were in the lives of many. So, in any case, ridiculing the obvious loserism of the main character, we can’t help but discuss why his attraction is aimed at those women who clearly can’t make him happy. But it's a philosophical question. So, the film, with all its mediocrity and external boredom, completely achieves its goal. After all, any comparison that you probably made between the heroines of Ariel and Sophie is already a significant victory for the director.
8 out of 10