Robbe-Grillet chooses a character, N from Nemo or the narrator..., to play with the material shot between Tunisia and Paris for the film L'eden et après.
N plays dice and invents his story with each roll.
The material ranges from beautiful images of the Tunisian coast to the usual female nudes in repulsively tortured poses.
The intention is first of all to disconcert, but some scenes are ridiculously comical (that funeral, those seventies dances at the Mondrian café...). It is a problem shared with L'Eden et après, with other works by Robbe-Grillet and with many films (especially French) of the 70s.
Obviously there is a lot of eroticism, sometimes downright unhealthy, and the beautiful Catherine Jourdan once again walks around in a trance or writhes in terror, dressed mainly from knees to toes and occasionally soaked.
Everything seems to be based on the appeal of images that have a vague narrative load, but without ever becoming part of a coherent story, or being able to start saying the opposite of what we imagine, the interest of scenes that at most mean in themselves, without ever being able to definitively fix them in a context.
Everything has a tone of play, of intelligent mockery, has frequently an undeniable beauty and is a very interesting curiosity to accompany the viewing of L'Eden et après.
N plays dice and invents his story with each roll.
The material ranges from beautiful images of the Tunisian coast to the usual female nudes in repulsively tortured poses.
The intention is first of all to disconcert, but some scenes are ridiculously comical (that funeral, those seventies dances at the Mondrian café...). It is a problem shared with L'Eden et après, with other works by Robbe-Grillet and with many films (especially French) of the 70s.
Obviously there is a lot of eroticism, sometimes downright unhealthy, and the beautiful Catherine Jourdan once again walks around in a trance or writhes in terror, dressed mainly from knees to toes and occasionally soaked.
Everything seems to be based on the appeal of images that have a vague narrative load, but without ever becoming part of a coherent story, or being able to start saying the opposite of what we imagine, the interest of scenes that at most mean in themselves, without ever being able to definitively fix them in a context.
Everything has a tone of play, of intelligent mockery, has frequently an undeniable beauty and is a very interesting curiosity to accompany the viewing of L'Eden et après.