A doomed ménage a trois, Gaspar Noe’s LOVE is a sexually explicit chef-d’oeuvre embroidered with lustful fantasies and erotic desires.
Like Noe’s prior work, Irreversible, LOVE tells its story out of chronological order, leaving it to each and every viewer to gather the scattered narrative and form an exceptionally thought-provoking experience.
The experience of watching LOVE works best if you see it as an absurdly over-determined work of and about sensuality and human sexuality (sentimental sexuality). LOVE, at its essence, is an upsetting movie bursting with sperm and tears.
The film’s elliptically structured plot and periodic mid-scene black-out cuts encourages the audience to build, instinctively, a sympathetic relationship with its complicated and titillated characters.
The film scarcened personas had no problem pushing the boundaries, creating a whirlwind of intense emotional and sexual concentration with the power to captivate all of its viewers simultaneously.
Aomie Muyock and Karl Glusman’s electrifyingly arousing performances were basically exuding pure physical intimacy and satisfaction. They both truly embodied their characters and delivered honorable performances that further along aided in creating a sexually charged and captivating ambiance.
Love, with all its instinctual sensuality and procedural confidence, contains some of the most stimulating scenes in cinematic history. Each sequence can be considered as an orgy of carved light that compliments every opening of the actors’ extraordinarily fascinating bodies, seized from high overhead angles mirroring orgasmic dance sequences in classic musicals.