Love Me Full Movie
Posted By admin On 07/04/19| Love | |
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| Directed by | Gaspar Noé |
| Produced by | Vincent Maraval |
| Written by | Gaspar Noé |
| Starring |
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| Music by | |
| Cinematography | Benoît Debie |
| Edited by |
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| Distributed by | Wild Bunch |
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| 135 minutes[2][3] | |
| Country |
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| Language | English[2] |
| Budget | €2.55 million[1] ($2.9 million) |
| Box office | $860,896[4] |
Love is a 2015 eroticdramaart film[5] written and directed by Gaspar Noé.[6] The film marked Noé's fourth directorial venture after a gap of five years. It had its premiere at the 2015 Cannes Film Festival and was released in 3D.
- 3Production
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Plot[edit]
Murphy is an American cinema school student, living in Paris. He had a French girlfriend, called Electra, whom he dated for two years. One day, Murphy and Electra met and had a no-strings-attached threesome with another woman, a young blonde Danish teenager named Omi, as a way to add some excitement to their love life. But later, Murphy had sex with Omi behind Electra's back, as a result of which Omi became pregnant. This unplanned pregnancy ended the relationship between Murphy and Electra on a horrible note, and it forced Murphy to marry Omi.
On a rainy January morning, Electra's mother, Nora, phones Murphy at his small Paris apartment where he lives with Omi and their 18-month-old son to ask him if he's heard from the young woman, because she hasn't for three months, and given her daughter's suicidal tendencies, she is really worried. For the rest of this day, Murphy recalls his past two years with Electra in a series of fragmented, nonlinear flashbacks; how they first met in Paris, their quick hookup, and their lives over the next two years which is filled with drug abuse, rough sex and tender moments.
Cast[edit]
- Karl Glusman as Murphy
- Aomi Muyock as Electra
- Klara Kristin as Omi
- Ugo Fox as Gaspar (the baby)
- Juan Saavedra as Julio
- Aron Pages (aka Gaspar Noé) as Noé
- Isabelle Nicou as Nora
- Vincent Maraval as Castel
- Deborah Revy as Paula
- Stella Rocha as Mama
- Xamira Zuloaga as Lucile
- Benoît Debie as Yuyo
- Omaima S. as Victoire
Production[edit]
Casting[edit]
Love is the screen debut of the two main actresses of the film, Muyock and Kristin.[7] Noé met them in a club. He found Karl Glusman for the role of Murphy through a mutual friend.[8]
Budgeting[edit]
The budget of the film was around €2.6 million.[1]Principal photography took place in Paris.[6]
Filming[edit]
Love Me Full Movie Online
In a pre-release interview with Marfa Journal, Gaspar implied that the film will have an explicitly sexual feel: 'will give guys a hard-on and make girls cry'.[9] The sex scenes were unsimulated and most were not choreographed.[10] There was barely a script and Noé would set up different real-life meetings with the actors.
Release[edit]
The week before its debut at the 2015 Cannes Film Festival, the film's U.S. distribution rights were acquired by Alchemy.[11][12] It was selected to be screened in the Vanguard section of the 2015 Toronto International Film Festival.[13]The film also screened in Indian film festival The International Film Festival of Kerala held in Thiruvananthapuram in the world cinema category.[14]
Reception[edit]
The film received mixed reviews, with 39% on Rotten Tomatoes, an average rating of 4.9/10, sampled from 85 reviews. The websites consensus states: 'Love sees writer-director Gaspar Noé delivering some of his warmest and most personal work; unfortunately, it's also among his most undeveloped and least compelling.'[15] On Metacritic, the film has a score of 51 out of 100 based on reviews from 27 critics, indicating 'mixed or average reviews'.[16]
References[edit]
- ^ abcLemercier, Fabien (27 April 2015). 'Enfant terrible Gaspar Noé is back with Love'. Cineuropa. Retrieved 4 May 2018.
- ^ ab'Love [2D] (18)'. British Board of Film Classification. 10 September 2015. Retrieved 11 September 2015.
- ^'Gaspar Noé's LOVE: first official cast & crew list'. Le temps detruit tout. 9 May 2015. Archived from the original on 10 May 2015. Retrieved 9 May 2015.
- ^'Love (2015) - International Box Office Results'. Box Office Mojo. Internet Movie Database. Retrieved 29 November 2015.
- ^Neuman, Jules (6 November 2015). 'Review: Noe's 'Love' Has Sex, 3D, and Little Else'. The Movie Blog. Retrieved 22 February 2018.
Love, Gaspar Noe’s sexy sex filled art house adventure
- ^ abPete Hammond (21 May 2015). 'Gaspar Noe's 3D Porn Movie 'Love' Lands In Cannes: 'This Could Never Have Been Made In America''. Deadline Hollywood. Retrieved 22 May 2015.
- ^Webb, Beth (20 May 2015). 'Revealed: the 3D sex odyssey set to scandalise Cannes'. Retrieved 29 May 2015.
- ^Keijser, Marjolein. ''Love' Press Conference, Movie Review (Cannes)'. GrungeCake. Retrieved 30 May 2015.
- ^Jagernauth, Kevin. 'Gaspar Noe's 3D 'Love' And More Added To Cannes Film Festival Lineup'. The Playlist. Retrieved 16 February 2016.
- ^Smith, Nigel. 'Cannes: Gaspar Noé on Shooting Sex in 'Love' and Why He Loves His Bad Reviews'. Indiewire. Retrieved 29 May 2015.
- ^'Complement to the Official Selection'. Cannes Film Festival. 23 April 2015. Archived from the original on 5 May 2015. Retrieved 23 April 2015.
- ^Smith, Nigel M (17 May 2015). 'Cannes: Gaspar Noe's 3D Sex Odyssey 'LOVE' Goes to Alchemy'. Indiewire. Retrieved 17 May 2015.
- ^'Toronto Film Festival Adds 60+ Titles'. IndieWire. Retrieved 11 August 2015.
- ^'Love'. Manoramaonline.com.
- ^'Love (2015)'. Rotten Tomatoes. Retrieved 19 September 2015.
- ^'Love'. Metacritic. Retrieved 2 November 2015.
External links[edit]
- Love on IMDb
- Love at Box Office Mojo
- Love at Rotten Tomatoes
- Love at Metacritic
His recollection of the context of the utterance is followed by various voices avowing that Welles would never have said such a thing at all. That we are able to have such arguments at all in this era of never-ending recorded evidence is kind of miraculous, but it also helps, when deciding whether to print the fact or the legend, or deciding which is which, to have such an iconic and iconoclastic figure of fascination as Orson Welles to hang such speculations on.
Directed with toy-store-window-gazing enthusiasm by Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor”) “They’ll Love Me When I’m Dead” chronicles the making and unmaking of “The Other Side of the Wind,” Welles’ remarkably ambitious, never-completed-by-the-filmmaker swan song of sorts. (Welles would make other films before he died in 1985, but none in the States; “Wind” is best understood as Welles’ last Hollywood, or anti-Hollywood, movie.)
The movie’s beginning has archival footage of Welles teasing the project to interviewers, predicting what the now-finished version, premiering, like this film, on Netflix, would deliver in the way of meta-textuality. With charming bluff, he says the movie will be shot “as though it’s a documentary.” He goes on to describe a movie director as someone who presides over “divine accidents” and says his shoot will yield some “if we’re lucky.”
What Welles’ story and shoot yielded were divine accidents of a very dark sort. This movie’s admiration for Welles, shared by all the interview subjects (and some may find it frustrating that they are not identified on-screen as they appear) is tempered by an awareness of the darker aspects of his personality, and the ways he could be not just his own worst enemy but the worst enemy of what is now going to be known as his ultimate opus.
Particularly poignant is the story of Gary Graver, the journeyman California cinematographer who called Welles out of the blue one day and almost immediately found himself shackled to the maestro. A technically adept operator with a particular affinity for working fast and cheap, Graver was a perfect match for Welles at the height of his renegade period. But the partnership cost Graver dearly in both the financial and personal departments, as interviews with a wife and one of his sons testify.
And yet these subjects don’t betray any rancor towards Welles. Nobody does. Because as hot-tempered, unreasonable and unrealistic as he could be, he made the work exciting. He knew, as he was making “Wind,” that he was taking spectacular artistic risks. “You either hate it or you loathe it,” he said at one point in the production, anticipating its divisive qualities. But his enthusiasm was itself a form of generosity, and it was infectious.
It could not last. Even as the post-production period spirals into an entropic limbo of no money and confiscated footage, and Welles lumbers toward death, the movie can’t help but portray him as an inspired and inspiring figure. Genius, this movie believes, is real, whether it’s failed or successful.