Julia Schacht in “Naboer” [Norway, Sweden, Denmark 2005]

My first post from a Norwegian film had to be something unusual. And different this certainly is – Pål Sletaune’s psychological thriller “Naboer” [Eng. Title: Next Door] chooses the well trodden subject of psychological trauma, but shows this from a totally unique perspective.

John hasn’t yet fully come to terms with the end of his relationship with Ingrid, his girlfriend of many years, and who left him for another guy. One day when he returns from work, Anne, a neighbour, asks him for help in moving some things around in her flat. Anne also introduces him to her sister, Kim. Anne later begs John to babysit Kim while she goes on some errands, and he agrees. What happens next is both shocking and disturbingly erotic. And things only get worse later on, which I’m not even going to mention here, as that would give away too much of the plot. The sisters are depicted as young and sexually available, but also creepy, bordering on insane – for a reason we will realise as the film progresses.

The film moves swiftly, and not for a moment will one find it dragging – Sletaune will have us transfixed to what’s happening on the screen throughout, and the acting in particular by the protagonist is riveting. But I think for the kind of story and screenplay, the depiction of the scenes should have been bolder, which would have been the case had it been a Spanish or Italian film. Even so, this is a very good film, and therefore, Recommended Viewing.

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Macarena Gómez & co in “Carne de Neón” [2011 Spain, Argentina]

Paco Cabezas remade “Carne de Neón” [Eng. title: Neon Flesh] for the big screen, after the earlier success of his TV version. What was initially a comedy had turned into a comedy thriller, and I think he just about managed to pull it off. I wasn’t expecting too much from this film, but was pleasantly surprised by its high level of production. The stylish cinematography and editing complement the soundtrack and, for what is essentially an action-packed film, pretty well made. Add to that, there is also a dark sense of humour pervading through the film – so whether people take what they see at face value, or look beyond the narrative, they will be entertained – a sure recipe for box-office success.

Ricky is a hustler, and works the streets alongside prostitutes and transvestites. He’s been doing this from the age of twelve when his prostitute-mother gets imprisoned. He’d been saving money to start a classy club-brothel of his own, and make his mum proud when she gets released – that was actually her ambition. She is released, but alas, she is now also suffering from Alzheimer’s disease and doesn’t even remember she has a son, but Ricky takes her with him nevertheless. This mother-son bonding is happening amidst the backdrop of flesh trade, gang warfare, pornography and the like. There are several elements to the plot, and I don’t want to throw in spoilers for those who want to watch it. Rest assured, it is worthwhile. The DVD is out, and Recommended Viewing..!



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Renée Soutendijk in Paul Verhoeven’s “De Vierde Man” [1983 Netherlands]

Continuing the early filmography of Paul Verhoeven, “De Vierde Man” [Eng. Title: The Fourth Man] successfully crosses over into ‘Noire’ territory by drawing inspiration from various peers of his era, notably Hitchcock and Chabrol. He also experiments with various stylistic elements which he’d later put to use in Hollywood, like in Basic Instinct, which in fact has several parallels with this film. But I feel The Fourth Man is a much more rounded product, where the suspense and ambiguity are retained throughout the film, in fact even after the film.

Like in most of his films, the female characters are as strong and domineering as their male counterparts, and in this film, they’re not just strong, but shown as having the potential to be dangerous too. Disillusioned, bisexual, and alcoholic writer Gerard is invited to a remote town to give a lecture at a literature convention. There he meets Christine, a widow and the society’s Treasurer, who invites him to stay at her place for the night when he misses his last train back to Amsterdam. Gerard isn’t averse to a one-night stand when it comes by, and they end up in bed together, but during the night he secretly reads one of Christine’s private letters from a handsome man, who he instantly is besotted with (the letter by the way, was left deliberately on the table by Christine), and when Christine asks him to live and work with her, he readily agrees, in the hope of meeting her young lover. During his stay, he discovers that Christine had already been widowed thrice, and suspects she might have killed each of her husbands to amass wealth, and is now looking for a fourth man (hence the title). Whatever the case, it is clear both Christine and Gerard have different agenda, but who’s in control, and who’ll have the last say..!

A fine Verhoeven film – and Recommended Viewing..!

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The Nudity: Renée Soutendijk

Renée Soutendijk nude in The Fourth Man

Renée Soutendijk from Paul Verhoeven’s “De vierde man” aka “The Fourth Man”.

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Sabila Moussadek & others in “Sans Queue ni Tête” [2010 France]

Jeanne Labrune’s 2010 drama, “Sans Queue ni Tête” [Eng. Title: Special Treatment] is an interesting observation of its protagonists – one, Xavier, a psychoanalyst, and the other, prostitute Alice – both are experienced in their respective professions, but are reaching a kind of dead-end where neither one of them want to carry on doing what they’re doing and decide to seek help. Xavier’s wife of many years has just left him, he is no longer keen to listen to his patients’ woes, and instead feels that venting his sexual urges with a prostitute would help rejuvenate him. Alice meanwhile is going through a crisis of her own and wants to talk to someone who can help with her desire to quit what she’s doing. Both these needs cross paths, and after several setbacks, achieve their respective goals.

The film is well made, and Isabelle Huppert plays the role of Alice with her usual elegance. There’s however no nudity from her character in this film, it is provided instead by others.

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Penélope Velasco in “Café Solo o con Ellas” [2007 Spain]

Álvaro Díaz Lorenzo’s debut film “Café Solo o con Ellas” [Eng. Title: Love Espresso] is a fairly ordinary brat-pack comedy set in Madrid – all the characters are cliché. The film’s about a group of guys – friends, and their various adventures with picking-up/winning back women.

I simply couldn’t bother with a detailed review of this pretty average film as there is nothing really worth mentioning. The compilation however, was made from a good quality DVD.

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