“The reason why I wanted to do this movie is because those scenes that are never portrayed on the movie screen are among the most important ones,” he says. When it comes to portraying sex in the movies, Noé says, we have a problem: Mainstream cinema doesn’t do it enough, and pornography doesn’t do it honestly. Noé applied for and received a subsidy for 3-D filmmaking from the French government, and Love’s extra dimension was secured.īut the 3-D filming, though it makes the characters more proximate (and certain parts of them sometimes a little too proximate) is a means to an end that end is a realistic depiction of physical intimacy. In the time between when he wrote the script (seven pages total, no dialogue) and began pre-production, Avatar and Gravity were released, and an increasing number of movie theaters became equipped to show high-quality 3-D movies.
He had recently purchased a handheld 3-D camera, and when he looked at the images of her upon his return to France, where he now lives, he says: “I thought they were really emotional, because I felt, with the glasses on, that she was really behind the screen-almost like a puppet in a puppet theater.” Given the nature of the story, it’s surprising to learn that Noé first had the idea to shoot in 3-D after watching footage he took of his dying mother in his native Argentina. Shaken by a message that his ex-girlfriend Electra (Aomi Muyock) hasn’t been seen in months, he spends a day flipping through his mental Rolodex of their time together-which includes, explicitly, memories of their sex life. Love, similarly, features a man looking backwards, although its premise requires no suspension of disbelief: Murphy (Karl Glusman) is an American film student living in Paris with a woman he doesn’t love (Klara Kristin) and the son they conceived when a condom broke.
His 2002 drama Irreversible featured a harrowing, nine-minute rape scene, and his 2009 “psychedelic melodrama” Enter the Void was filmed from the first-person perspective of an American drug dealer in Tokyo who has been shot dead, floating over the city as he recalls the plot points of his life.
30, is Noé’s fourth feature film, but not necessarily-despite its abundant nudity-his most provocative. Love, which opens in select theaters Oct.
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