LOVE
2015, Alchemy, 134 min, France, Belgium, Dir: Gaspar Noé

“For years I have dreamed of making a film that would fully reproduce the passion of a young couple in love, in all its physical and emotional excesses,” notes writer-director Gaspar Noé of this erotic drama. Murphy (Karl Glusman) is a young American living in Paris, caught between his past and his sexually and emotionally charged affair with the unstable Electra (Aomi Muyock). After Electra mentions fantasizing about a threesome, she and Murphy invite their pretty neighbor (Klara Kristin) into their bed, an event that has seismic effects on their relationship. Among the most provocative premieres at Cannes, LOVE features some of the most graphic sex scenes ever filmed. In English and French with English subtitles.


LOOKING FOR MR. GOODBAR
1977, Paramount, 136 min, USA, Dir: Richard Brooks

A young, sexually unsatisfied school teacher (Diane Keaton) begins a wild string of late-night romps with increasingly dangerous men including disturbed thug Tony (Richard Gere) - the most dangerous of them all. This brooding, lurid adaptation of Judith Rossner's best-selling novel follows one woman on a desperate search for fulfillment, and is shockingly based on the true life of a New York City schoolteacher. Keaton’s stellar, subtle performance earned her a Golden Globe nomination for Best Actress.


AMERICAN GIGOLO
1980, Paramount, 117 min, USA, Dir: Paul Schrader

Julian Kaye (Richard Gere) is a suave, Armani-clad prostitute embroiled in a steamy affair with a senator’s wife (Lauren Hutton) when he becomes the prime suspect in the murder of one of his previous clients. Helmed by RAGING BULL scribe Paul Schrader, this stylish, ’80s-chic crime drama is driven by Gere’s layered portrait of the vulnerable, hopelessly empty playboy. “Call Me,” the endlessly catchy Blondie theme song written for the film, is both a literal reference to the protagonist’s work as a callboy and an allusion to the brilliantly rendered, desperate yearning for human connection that underlies practically every relationship in this seminal film.


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