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When I hear or read “What doesn’t kill you makes you stronger!” I want to curl myself into a cataclysmic ball of rage and explode. No. The horrors and challenges in life that do not kill you do not really make you stronger. In reality they make you cynical, confused, damaged and tired. When discussing the survival of child abuse trauma we enter a whole new realm of fresh Hell.

Jean-Luc Godard Editing "Weekend" Paris, 1967 Photographer | Unknown to me

Jean-Luc Godard
Editing “Weekend”
Paris, 1967
Photographer | Unknown to me

For me this saga continues. It isn’t like I’m not fighting like hell to resolve it. But as I’m so tired of hearing: “There is no time limit on these things.” or “Let’s just take it day by day and further develop coping skills” or worse yet, “But you are getting better!” But I push onward and forward as best I can. I don’t know, maybe I am stronger because of what I endured or survived. However, I can’t help but thing I’d be more effective had I not had to survive such things. I suspect I’d still be strong. Who knows? It is hardly worth considering. As much as I hate this phrase, it does hold true: “It is what it is.

And sometimes we just don’t have the ability to change “it.” The “it” just sits on us as we try to understand exactly what “it” needs or wants so that we can be free of the weight. Damage is impossible to avoid. If you are 30 and have not been seriously damaged in one way or another – you are most likely not actually living life. You are probably avoiding it. Sadly, some damage is more significant than other types.

And this brings me to Film Art.

And chaos reigns. Surrealistically, Willem Dafoe and Charlotte Gainsbourg are working through some of life's cruelest turns. Antichrist Lars von Trier, 2009 Cinematography | Anthony Dod Mantle

And chaos reigns. Surrealistically, Willem Dafoe and Charlotte Gainsbourg are working through some of life’s cruelest turns.
Antichrist
Lars von Trier, 2009
Cinematography | Anthony Dod Mantle

Much to the bewilderment of my love, my family and my friends — I often find “comfort” in the darkest of film. Steve McQueen’s Shame is especially important to me. As is Christophe Honre’s Ma Mere or Darren Aronofsky’s Requiem for a Dream or Lars von Trier’s Anitichrist.

These are very bleak and almost apocalyptic movies. Yet, each one seems to offer me a chance to escape into someone else’s personal horrors and remind me that not only am I not alone — but it could be ever so much more worse. These films also offer resonation and catharsis.

Sugar-sweet brain candy cinematic manipulations tend to annoy me. I find no means of escape within them. If one is particularly good, such as Mel Brook’s Young Frankenstein — if I’m in the right mood I will love watching it over and over again.

Persona Ingmar Bergman, 1966 Cinematography | Sven Nykvist

Persona
Ingmar Bergman, 1966
Cinematography | Sven Nykvist

But if one of those toxic waves crash into me I’d much prefer to watch Ingmar Bergman’s Persona or David Lynch’s Earaserhead. Another couple of films that provide me with escape is Luis Bunuel’s Belle de jour, Robert Altman’s 3 Women and Ki-duk Kim’s Pieta. As well as David Cronenberg’s Naked Lunch, Nicolas Roeg’s Don’t Look Now or Godard’s Weekend. All of these movies project complex ideas and themes that require the mind to focus and think about what is being shown (or often not shown) — therefore, I find a way to temporarily escape my problems.

I jump into the problems and horrors examined in these dark films.

A serial killer roaming through the canals of Venice are the least worries facing Julie Christie as she and her husband face the despair, grief, isolation, guilt and tragedy of loss. Don't Look Now Nicolas Roeg, 1973 Cinematography | Anthony B. Richmond

A serial killer roaming through the canals of Venice are the least worries facing Julie Christie as she and her husband face the despair, grief, isolation, guilt and tragedy of loss.
Don’t Look Now
Nicolas Roeg, 1973
Cinematography | Anthony B. Richmond

The resonation most likely comes from the one actual gift of survival: The ability to understand. While I do not suffer with Sex Addiction or an inability to connect beyond the sexual, I do feel an understanding and empathy for those who suffer with it. When life teaches one that his/her’s worth is tied to sexuality, it leaves that individual with every limited abilities to connect and encage. If ever mankind is haunted by demons, they are manifestations of Self-Loathing, Isolation and Loneliness. The two characters in Shame roam about a blue-toned Manhattan lost, unsure, impotent and desperate.

"We're not bad people. We just come from a bad place." Michael Fassbender Crushing under the weight of human damages SHAME Steve McQueen, 2011 Cinematography | Sean Bobbitt

“We’re not bad people. We just come from a bad place.”
Michael Fassbender
Crushing under the weight of human damages
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

Neither knows how to escape their respective prisons. The actors, Michael Fassbender and Carey Mulligan do not even need much dialogue. So strong are these talents, they can convey more with a glance, a gesture or most powerfully for Mulligan — in the singing of a song. Mulligan’s deconstruction of the standard, New York, New York, belongs on a pristine shelf of the perfect actor moment.

"If I can make it there..." Carey Mulligan SHAME Steve McQueen, 2011 Cinematography | Sean Bobbitt

“If I can make it there…”
Carey Mulligan
SHAME
Steve McQueen, 2011
Cinematography | Sean Bobbitt

In her hands and voice, the infamous anthem becomes a defeatist glimpse into grief and regret.

In Ki-duk Kim’s dark and angry, Pieta, we are stolen into a world of injustice, cruelty, betrayal and vengeance. Min-so Jo plays “the mother” to Jung-jin Lee’s “son.” Both navigate with minimal use of words. Contrary to what one might expect from the often soap-opreaish work one normally sees these two actors in, here they are both given the freedom to fully explore the veins under the skins of their characters.

Ki-duk Kim’s film is a set-up for both the viewers and the two leading characters. There is nothing holy to be found in this Pieta. The catharsis of vengeance comes with a price that I can only believe is absolute truth. While one might fantasize of extracting vengeance, the reality is far removed from the pleasure we might expect.

Jung-jin Lee opens the door to the parent, Min-so Jo, who abandoned him with a knife at the ready... Pieta Ki-duk Kim, 2012 Cinematography | Young-jik Jo

Jung-jin Lee opens the door to the parent, Min-so Jo, who abandoned him with a knife at the ready…
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

Being a survivor, I often find myself imagining what I would do to my attacker if I could and how very happy it would make me. However, being a survivor has also taught me how to examine the tragedy from all sides.

There would be no happiness or pleasure in securing vengeance even if I could. My attacker has long since died. The bitter truth is that we humans are complicated animals. The reality is a child not only needs the love of his parent, he requires it. No matter how cruel a parent might be, there is something in us that needs to be able to love that person who gave us life. And while I have no children, I’m mature enough to know that a parent can feel great love for a child and still manage to deeply harm him/her.

It is a set-up. Despair, Grief & Anger turn to Vengeance.  Min-so Jo Pieta Ki-duk Kim, 2012 Cinematography | Young-jik Jo

It is a set-up. Despair, Grief & Anger turn to Vengeance.
Min-so Jo
Pieta
Ki-duk Kim, 2012
Cinematography | Young-jik Jo

The insanity that drives the parent to such acts in many ways has nothing to do with the love they might feel for the child. It is a tricky proposition to understand and requires a great deal of emotional logic to place this in the appropriate context, but often a victimizing parent is a victim themselves. The strange and very twisted truth is I know my father loved me. I know this to my core. I also know that he damaged me in ways beyond repair. Despite this, when he died I felt no relief. I only felt grief. A grief far deeper than I had ever felt before or since. So much unresolved and so much confusion. As the characters in Pieta secure their “need” for revenge — there is no turning back. They reduce themselves to the level of the victimizer. The “victory” comes at a price too strong to bear.

It is interesting and very telling that I seem to avoid films which tackle the subject of fathers raping, harming and emotionally abusing their sons. Perhaps this is too dark for even me. When I see a film addressing this it rings too close to my own horrors and confusions related to my late father. It is as if I need a bit of distance. These kind of conflicts involving a mother and a son are distanced enough from my life that I’m able to find something to gain.

Perhaps the most confusing film in which I find escape is Christophe Honre’s controversial and often banned film, Ma Mere.

"Wrong isn't what we're about to do. Wrong is wanting to survive it." Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

“Wrong isn’t what we’re about to do. Wrong is wanting to survive it.”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Very loosely adapted from the infamous and posthumously published George Bataille novel which intended to shock as a way of both societal and cultural commentary — Christophe Honre had something a bit different in mind. Honre is very intellectual filmmaker. He is almost cliched French. He will stubbornly create a grim musical that refuses denial by a culture which seems to hold little value or appreciation of film musicals. He likes to force his hand. With the great Isabelle Huppert as his leading lady, Bataille’s novel is transferred to the modern day Canary Islands. We are expected to already know that this beautiful place has long succumbed itself to serve as both a tourist destination and a location for anything goes morality. Public sex, sex workers and fringe-dwellers litter the beaches and fill the after hours bar-hopping mall where the characters wonder about in the film’s first  act. Honre does not care to focus his attention to that.

"The pleasure only begins the moment the worm is in the fruit." Isabelle Huppert and Louis Garrel Christophe Honre, 2004 Cinematography | Hélène Louvart

“The pleasure only begins the moment the worm is in the fruit.”
Isabelle Huppert and Louis Garrel
Christophe Honre, 2004
Cinematography | Hélène Louvart

In the film version of Ma Mere, he seeks to tell the very complex, grim and perverse relationship of damaged mother to her damaged son. This is not a sexy movie, but it is very much about sexual experimentation, humiliation and a vexingly profane philosophy that the mother is hellbent on searing into the mind of her barely adult child. Louis Garrel has been raised by his strict Catholic grandmother — a family decision to “protect” him from his depraved parents who have long been exiled to The Canary Islands far from their families. We learn a great deal about the family history in the most casual of ways. Isabelle Huppert’s performance is a below the belt gut punch of realism over what must have appeared as absurd in script form.

Yet as Isabelle Huppert delivers a stream of profane and almost comical ideas, it is never funny. It feels real.

As Garrel’s “son” grapples with his own torn feelings about the loss of his Grandmother and her faith, he is also pulled toward this cruel version of a mother. While he may be technically adult, he is an innocent. He desperately craves the love and acceptance of his mother. He is unable to filter this need.

As she leads him into her confused and brutal world of psychological cruelty, BDSM and most certainly sadomasochistic rituals, the son becomes a sort of pawn with which his mother cannot decide to crush or love.

Victim turned Victimizer Isabelle Huppert and "Friend"  Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

Victim turned Victimizer
Isabelle Huppert and “Friend”
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

We learn that her marriage to his father was born of statutory rape. Most likely he himself is the result of this rape. The film goes farther than it needs, but it is clear that the mother’s abuse is a conflicted result of anger, insanity and love.

As I watch these two almost surrealist characters perform their tragic dance, I do feel a worrying reality to it all. And of course this is the point of Ma Mere. We love our mothers. Our mothers love us. It does not mean they are not capable of inflicting cruelty beyond measure. The mother could just as easily be replaced with a father and a daughter for the son. But Mon Pere would be even more controversial and serve the idea of the film in an even more complex way.

Even his early childhood nanny can't seem to stop the son from desperately seeking the love of his mother... Dominique Reymond and Louis Garrel  Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

Even his early childhood nanny can’t seem to stop the son from desperately seeking the love of his mother…
Dominique Reymond and Louis Garrel
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

Most importantly, Christophe Honre’s film never seeks to eroticize or celebrate the profane actions of its characters. It also  does not seek to judge them. It doesn’t need to. As Ma Mere grinds into its abrupt and deeply disturbing end, the tragic implications of human damage are clear. Worst yet, they seem to be on-going.

"Maybe now you know desire reduces us to weakness." Isabelle Huppert Ma Mere Christophe Honre, 2004 Cinematography | Hélène Louvart

“Maybe now you know desire reduces us to weakness.”
Isabelle Huppert
Ma Mere
Christophe Honre, 2004
Cinematography | Hélène Louvart

While none of the above is my experience, I relate enough to feel the resonation of the art. It acts as a catharsis. I take a great deal of solace in knowing that I caught and understood what I “survived” soon enough to ensure that the abuse stops here with me. But in an all too clear way, what I survived has not made me stronger. The tragedy of what happened to me follows me constantly. And like the son in Christophe Honre’s tragically forgotten film, the implications seem on-going.

Matt Stanfield, 9.20.2015

An Adam Sandler

When does art go too far?

Monica Bellucci embarks on short walk to savage and misogynistic human cruelty in Gaspar Noé's Irréversible, 2002. Cinematography | Benoît Debie & Gaspar Noé

Monica Bellucci embarks on short walk to savage and misogynistic human cruelty in Gaspar Noé’s Irréversible, 2002. Cinematography | Benoît Debie & Gaspar Noé

We all know that the debate regarding when works of art become “inappropriate” or “unacceptable” is not new.  Most of us jump up to fight censorship and the right of the artist to express his or her “self” in any manner their vision requires. And most of us would equally agree that each individual is free to critique or express their disgust with anything the artist creates. These are two key rights of the audience and the artist.

Christians protest outside the Ziegfeld Theater against the screening and attendance of The Last Temptation of Christ,  Martin Scorsese, 1988 outside the Ziegfeld Theater, NYC, 1988 Photograph by Barbara Alper/Getty Images

Christians protest outside the Ziegfeld Theater against the screening and attendance of The Last Temptation of Christ, Martin Scorsese, 1988 outside the Ziegfeld Theater, NYC, 1988 Photograph by Barbara Alper/Getty Images

When we see an organization pull its resources in an attempt to block an artist’s work many of us pull together in protest. I proudly remember skipping school so I could drive to Houston and cross through the mob of protestors to pay and see The Last Temptation of Christ. For the two of us, it was essential to protect that core belief of free speech. The level of Baptist and Pentecostal anger was more than a little scary, but me and my pal were very proud to support the movie. We went on opening day. Good thing we did. Nearly all the cinemas located in Southeast Texas pulled the movie with the first 4 days of screenings. Those angry Christians (very few of whom I think ever bothered to read the book or see the movie) succeeded in shutting the movie down in The Bible Belt.

To protest a work of art is very different than prevent it from being displayed or shown. It is a never ending conflict that artists will always face. The rights of artists and the audience must be protected.

Brooke Shields was 12 when she appeared nude and played a child prostitute in Louis Malle's 1978 film, Pretty Baby. Cinematography | Sven Nykvist

Brooke Shields was 12 when she appeared nude and played a child prostitute in Louis Malle’s 1978 film, Pretty Baby. Cinematography | Sven Nykvist

But it is the rare individual who can honestly state that she/he has never felt the need to scream out from the highest mountain, “This is wrong! This must be stopped! This is inappropriate!” For me, any work that is created to or even unintentionally stirs up hate against marginalized people compels me to draw the line. Unless the artists’ hatred is aimed at Hitler or The Manson Family or any segment of society that I feel intrudes on the rights of another. Then, I’ll support that hate full tilt. Another area which I refuse to accept is art that sexually exploits children.

Or work that misuses violence. For me, there is a difference in using violence as method for exploring human psychology, history, realism or even as way to access horror. It is when violence is utilized in a manner of titillation instead of provocation that it goes too far for me. And nothing angers me more when I see a work of art that uses violence against children or women for no other reason but to shock us.

Many people were unaware that they were objects of satire and many were not paid. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, Larry Charles, 2006. Cinematography | Luke Geissbuhler & Anthony Hardwick

Many people were unaware that they were objects of satire and many were not paid. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, Larry Charles, 2006. Cinematography | Luke Geissbuhler & Anthony Hardwick

Ultimately the basic guidelines for unacceptable art is art in which anyone is actually harmed, any inappropriate exposure of people under the age of 18 or anytime that an individual is pushed into any level of cruel depiction without consent.

Now a true ethical dilemma for me is when I fail to apply my own guidelines. Because whether I like to admit it or not — there have been more than a few films that slip into some very murky ethical waters. And, I must confess that some of them I found myself not only supporting, but enjoyed. The two films represented by their major studio poster campaigns above are films that I like — both crossed my personal ethical lines or standards. 

But often I do fuel my ethical concern into logical critiques or I simply refuse to give money to offensive work.  What pushes us to create that sort of critique or hide our wallets varies. Such was my reaction by the time Takashi Miike’s Visitor Q reaches about the ten minute mark. I demand a full refund of my ticket and left the cinema.

Familial dysfunction has never been depicted with such de-tached cruelty and satire becomes inverted in Takashi Miike's addition to Japan's "love cinema", Visitor Q, 2001. Videography | Hideo Yamamoto

Familial dysfunction has never been depicted with such de-tached cruelty and satire becomes inverted in Takashi Miike’s addition to Japan’s “love cinema”, Visitor Q, 2001. Videography | Hideo Yamamoto

Yet it is hard not to catch some smart film references in this twisted chapter of the Japan banned series of Direct to Video series called “Love Cinema” — This movie enjoyed some praise in the US while on the festival circuit. Visitor Q remains a cult classic for many. Just for the record, I’m not one of them. In 1999 Miike created Audition. There were more than a few times I found myself feeling I should leave, but the interesting twists in tone, artistry and sheer audacity were far too interesting for me to dismiss. My guidelines shifted for this movie.

"Kiri kiri kiri kiri kiri!" Children, women and men are all tortured to extremes so over-the-top it becomes surreal in Audition. Takashi Miike, 1999. Cinematography | Hideo Yamamoto

“Kiri kiri kiri kiri kiri!” Children, women and men are all tortured to extremes so over-the-top it becomes surreal in Audition. Takashi Miike, 1999. Cinematography | Hideo Yamamoto

Takashi Miike’s Audition utilizes torture and gore as not only as an “attraction” to horror film fans but a clever metaphorical tool to explore his lead character’s inner-most fears of women, grief and sexuality. It took me several years before I was comfortable in recommending it to friends and discussing the idea of securing Takashi Miike as a festival guest. The festival’s board admitted to the artistry involved in much of Miike’s work, but they were equally offended by it as well. To be honest, I never found a way to defend my opinions of many of his films.

But very few films have ever made me as uncomfortable and repulsed as Gaspar Noé’s experimental film, Irréversible.

"Take the underpass. It's safer." Irréversible, Gaspar Noé, 2002. Cinematography | Benoît Debie & Gaspar Noé

“Take the underpass. It’s safer.” Irréversible, Gaspar Noé, 2002. Cinematography | Benoît Debie & Gaspar Noé

The film’s narrative deconstruction, cinematography and acting were so polished and unique. I have never worked out how I feel about Gaspar Noé’s depiction of his lead female character’s suffering at the hands of a rapist. The line between valid depiction and grotesque exploitation is not just blurry — it appears to have been erased. Did Noé go too far or did he go just far enough to capture the all-too-real horror that seems to be ever lurking for women? I do not have an answer.

Irréversible was one of many French Films which began to emerge as we entered the 21st Century. Prior to Irréversible, Gaspar Noé shot I Stand Alone. This was another deeply disturbing film which follows an emotionally damaged horse butcher as he contemplates the misery of his life, his threatening visceral cultural rage, suicide and his uncontrollable sexual desire for his daughter. …who happens to be living in a sort of insane asylum. Aside from being grimly nihilistic, I Stand Alone also approaches every aspect from a visually graphic perspective. The film was widely praised and Gaspar Noé received The Mercedes-Benz Award at the 1998 Cannes Film Festival. Despite my repulsive reaction I also consider it an important film.

Catherine Deneuve as the  somewhat perverse mother in Leos Carax's experimental re-working of Melville's "Pierre, or, the Ambiguities", Pola X, 1998.  Cinematography | Eric Gautier. Deneuve was one of the few actors who did not engage in unsimulated and penetrative sex.

Catherine Deneuve as the somewhat perverse mother in Leos Carax’s experimental re-working of Melville’s “Pierre, or, the Ambiguities”, Pola X, 1998.
Cinematography | Eric Gautier. Deneuve was one of the few actors who did not engage in unsimulated and penetrative sex.

It was these films that also included Catherine Breillat’s Romance, Leos Carax’s Pola X, Coralie Trinh Thi’s Baise-moi, Claire Denis’ Trouble Every Day and Alexandre Aja’s Haute Tension that led then Artforum Critic, James Quandt, to coin the intentionally derogatory term, The New French Extreme. Quandt defined the The New French Extreme in Artforum with a nod to Pier Paolo Pasolini’s 1975’s highly polarizing Salò, or the 120 Days of Sodom serving as a turning point in Film Art that is only growing more perversely articulated by French film artists who are suddenly “…determined to break every taboo, to wade in rivers of viscera and spumes of sperm, to fill each frame with flesh, nubile or gnarled, and subject it to all manner of penetration, mutilation, and defilement.”

James Quandt  and Artforum created a term for French cinema's graphic focus on the transgressive.

James Quandt and Artforum created a term for French cinema’s graphic focus on the transgressive.

Interestingly, rather than create an aversion toward these filmmakers and their work — he actually ended up drawing more attention to it. And, only a few of the French filmmakers were even vaguely offended by the label. Catherine Breillat was the only film artist I can remember being at all perplexed with Quandt’s label. Catherine Breillat has built a distinguished film career around her obsession with the ways in which sexuality impact an individual’s life. Most often, she pursues psychological and physical sexual themes that are nearly always graphic, perversely cerebral and unsentimental. Her career in the arts started at 17  when she secured a publishing deal for her first novel, Early Man, in 1965. The French Government quickly banned the novel from any readers under the age of 18. Almost immediately as the novel was published it was optioned by two film producers. It would not be until 1976 that the producers had the funds, but Breillat was allowed to adapt her book and to direct it. It is interesting to note that the producers went bankrupt as the movie, A Real Young Girl,  was too controversial to secure a distributor in the late 1970’s. In fact, the French Government banned the film. It would not be until 1999 that the film would be released.  The history of this novel and subsequent movie is an early and accurate summation of her entire career. Breillat’s interests and the manner in which she portrays them are often received with interest, but almost consistently create such controversy that success is somewhat limited. Despite the challenges of making profits, her skill as a filmmaker are indisputable. Catherine Breillat has always followed her vision and made it very clear that the audience will either reject her films or not. So, I remember being surprised that she even bothered to address the appointed label of being a part of The French Extreme. She felt that her work was more aligned to that of David Cronenberg and she suggested that she felt they both made films that fell into the realm of Cinema of the Body.

Of the following three French films only one of them was not considered a part of The French Extreme.

Catherine Breillat’s À ma sœur! was released in 2001. It remains my favorite example of The French Extreme. The title of the movie actually translates as “To My Sister!” but for some inane marketing reason Canal+ assigned it a new title for non-European release. And, so I once again find myself ignoring my guidelines as I enter the world of Fat Girl.

Anaïs Reboux stars as Anaïs Pingot in Fat Girl, Catherine Breillat, 2001 Cinematography | Giorgos Arvanitis

Anaïs Reboux stars as Anaïs Pingot in Fat Girl, Catherine Breillat, 2001
Cinematography | Giorgos Arvanitis

In 2001 I wrote that Fat Girl was a controversial, provocative and potent examination of female adolescence. Without even the slightest hint of empathy or sentiment for her lead character — or any others in the movie — the movie is unflinching in its commitment to perversely turn the film against the audience rather than to provoke the audience against the movie. Breillat seems to be lensing the entire film with a driven by the same adolescently stunted emotional confusion, rage, jealousy and loneliness of the main character, Anaïs Pingot. Adolescence is never easy, but is proving to be even more so for Anaïs. The US/UK/Canadian releases for this film have been changed from To My Sister! to Fat Girl. As inappropriate as this new title is, it is a great example at the way our society views females. Even at the hands of the movie’s distributor poor Anaïs is reduced to being nothing more than a fat girl. She is already judged.

Anaïs Reboux in Fat Girl, Catherine Breillat, 2001 Cinematography | Giorgos Arvanitis

Anaïs Reboux in Fat Girl, Catherine Breillat, 2001
Cinematography | Giorgos Arvanitis

Fat Girl, Catherine Breillat, 2001 Cinematography |

Fat Girl, Catherine Breillat, 2001 Cinematography |

Far more graphic than it needs to be, Canal+ has made it clear that this time out Breillat did not require her actors to have sex. But give the fact that the movie utilizes prosthetic penis hard-on’s and full frontal nudity and graphic simulated sex scenes, it feels real. Breillat films her lead character played by a 13 year old non-actress partially nude and places her in not only sexual situations but in truly disturbing scene of sexual violence.  While it is on many levels inappropriate, it never feels like Breillat is trying to exploit this little girl. It often simply feels tragically real as this young girl is only beginning to seriously contemplate her sexuality and the way her body is actually perceived.

Roxane Mesquida and Anaïs Reboux are sisters at once as one and then next as enemies. Fat Girl, Catherine Breillat, 2001 Cinematography | Giorgos Arvanitis

Roxane Mesquida and Anaïs Reboux are sisters at once as one and then next as enemies. Fat Girl, Catherine Breillat, 2001
Cinematography | Giorgos Arvanitis

Her sister is her best friend one minute and her enemy the next. Her parents do not seem to really pay much attention or care about her. One gets the feeling she is evolving into an angry misfit. The movie takes a very blunt and shocking turn in the last few minutes. The audience at the screening I attended sat in silence as the credits began to roll. Some were offended. Some thought the experience was amazing. Several of the people gathered together in the cinema lobby. I attended the film alone. I listened as each person gave their perspective. Everyone seemed a bit disoriented and upset.

 "If you don't want to believe me, then don't." Fat Girl, Catherine Breillat, 2001 Cinematography | Giorgos Arvanitis

“If you don’t want to believe me, then don’t.”
Fat Girl, Catherine Breillat, 2001
Cinematography | Giorgos Arvanitis

When it came to my turn to express my thoughts I could only say that I was certain we had just seen a brilliant bit of cinematic art that is both unforgettable and unforgivable. 14 years later, I still feel the same.

What to do when everything that happens seems to reflect the way you feel? Fat Girl, Catherine Breillat. Cinematography | Giorgos Arvanitis

What to do when everything that happens seems to reflect the way you feel? Fat Girl, Catherine Breillat. Cinematography | Giorgos Arvanitis

Whenever someone asks me about this film, I always warn, “It is not for all tastes.”  — I should probably add that this is one of the points of every film Catherine Breillat has ever made. Fat Girl takes no prisoners. She refuses your judgement. She will not break.

Christophe Honoré’s 2004 film, Ma Mere, has also been labeled as an entry into The French Extreme.

Isabelle Huppert as Ma Mere. Christophe Honoré, 2004. Cinematography | Hélène Louvart

Isabelle Huppert as Ma Mere. Christophe Honoré, 2004. Cinematography | Hélène Louvart

It is actually rather surprising that it took so long for Isabelle Huppert to take a role in one of these films. If ever there were a fearless female actor is it Isabelle Huppert. This actor is an essential part of this controversial movie. In many ways, it seems as much her film as it’s director, Christophe Honoré. Unlike Fat Girl, this film never really puts me at odds my guidelines. It does something far worse. It actually fascinates me. Christophe Honoré simplistic aesthetic is often curiously mismatched to Huppert’s nuanced but harsh performance. It is this simplistic and minimalist mode of storytelling merged with a deeply layered performance by Huppert that seems to provide the fuel to both the plot and to the characters. Huppert’s Hélène is a puzzle of a character that is never fully put together to answer questions. But Huppert is somehow able to play this perversely cruel woman with not only a lingering sort of sadness. It is also much to Huppert’s credit that she is able to interpret Honoré’s almost “camp” level dialogue in unsettlingly believable ways.

"The pleasure only begins the moment the worm is in the fruit." Isabelle Huppert & Louis Garrel in Christophe Honoré's Ma Mere, 2004. Cinematography | Hélène Louvart

“The pleasure only begins the moment the worm is in the fruit.” Isabelle Huppert & Louis Garrel in Christophe Honoré’s Ma Mere, 2004. Cinematography | Hélène Louvart

Her son is played by Louis Garrel who manages to keep up with both his director and the iconic actress with whom he shares the screen. We learn that Hélène and her much older husband lost custody of their son and were essentially banished to the Canary Islands because her husband’s wealthy family wanted to keep there lifestyles as far from the family as possible. Though never clearly stated, we quickly learn that subversive and the kink of BDSM is far less about pleasure as it is about punishment. The son is desperate to connect with his mother. Hélène is not so interested in that. Instead, she is hellbent on manipulating his innocence to push him through a constant bombardment of challenges to his mannered way of life. And she does so in an almost ritualistic planned events. So eager to please his mother and also worn down from his grandmother’s Catholic influence he pushes through each challenge until his humanity is completely debased. While Christophe Honoré’s film earned an NC-17, it is actually visually reserved for a film considered as French Extreme.

Dominique Reymond knows far more than she lets on to the son in Ma Mere. Christophe Honoré, 2004   Cinematography | Hélène Louvart

Dominique Reymond knows far more than she lets on to the son in Ma Mere. Christophe Honoré, 2004
Cinematography | Hélène Louvart

Not that Honoré doesn’t push the envelope on graphic nudity and graphic moments involving domination. But he never really takes the visual to the level of extreme I was expecting. The truly offensive and controversial aspects of this film come from the tone and the manner in which the actors, particularly Huppert, are so genuine in their convictions to hedonism. By the time Honoré actually brings us the mother and son to the final challenge of incest, Hélène chooses to deliver her cruelest to her son. We don’t actually see what the son is doing as he looks at a corpse, it is all the more shocking that we don’t. And as he runs away from the morgue in a state of total panic it almost feels like it is his mother has somehow taken control of the film’s soundtrack.

"Wrong isn't what we're about to do. Wrong is wanting to survive it." Ma Mere. Christophe Honoré, 2004  Cinematography | Hélène Louvart

“Wrong isn’t what we’re about to do. Wrong is wanting to survive it.” Ma Mere. Christophe Honoré, 2004
Cinematography | Hélène Louvart

Suddenly, as this broken son runs all we can hear is “Happy Together” by The Turtles. Much like Leos Carax’s controversial “epic” reworking of Herman Melville’s Pierre, or, the Ambiguities in Pola X, Christophe Honoré has used Georges Bataille’s controversial cultural critique novel, My Mother, as the source for his film — he is far less concerned with providing a cultural / societal commentary as he is in exploring the depravity of a parent and the way it can eventually can pull the child to an even darker level of perversity. And, just as The Turtles hit the last chorus — “...so happy toge-”  Honoré cuts them off mid word and his screen immediately switches to white. Ma Mere ends with a thudding silence that lingers long after it has been viewed.

"This goes to your mother. The Mediterranean bitch." Isabelle Huppert & One of her Disciples in Ma Mere, Christophe Honoré, 2004 Cinematography | Hélène Louvart

“This goes to your mother. The Mediterranean bitch.” Isabelle Huppert & One of her Disciples in Ma Mere, Christophe Honoré, 2004
Cinematography | Hélène Louvart

Over the course of the last decade, The French Extreme had de-evoloved to mostly disgusting torture porn. The goal of these films seems to shock the audience with an assault of savage gore.  The original French artists who are most associated with The French Extreme have pretty much all changed gears. Even Catherine Breillat has started to look at other aspects of human life. Her greatest challenge is the fact that she suffered a stroke. But this only seemed to push herself harder to craft a film loosely based on her experiences during and after her stroke.

" I've sunk like the Titanic. But if I ever resurface, I'll be an atomic bomb." Isabelle Huppert in Abuse of Weakness, Catherine Breillat Cinematography | Alain Marcoen

” I’ve sunk like the Titanic. But if I ever resurface, I’ll be an atomic bomb.” Isabelle Huppert in Abuse of Weakness, Catherine Breillat
Cinematography | Alain Marcoen

Certainly powerful stuff, but not so extreme.

The last film of the genre I saw that displayed incredible skill and intelligence was simultaneously the most unpleasant torture porn I have ever seen. Particularly appalling was the fact that it simply was too well made for me to question it. It was Pascal Laugier’s 2008 Martyrs. Which Hollywood has been trying to re-make in a “less dark way”?!?

"Keep doubting." Martyrs,  Pascal Laugier, 2008 Cinematography | Stéphane Martin,  Nathalie Moliavko-Visotzky & Bruno Philip

“Keep doubting.” Martyrs,
Pascal Laugier, 2008
Cinematography | Stéphane Martin,
Nathalie Moliavko-Visotzky & Bruno Philip

But, that would be a whole other sort of post.