The 1999 French film (also known as ), written and directed by Catherine Breillat, remains one of the most polarizing entries in the "New French Extremity" movement. Critical Overview Critics generally agree that
Romance was released on DVD and Blu-ray by Lionsgate (U.S.) and Artificial Eye (UK). Special features typically include interviews with Catherine Breillat, a theatrical trailer, and an essay by film scholar Laura Mulvey.
The search for is not about finding a quaint love story. It is about locating one of the most audacious, uncomfortable, and intellectually rigorous films ever made. Catherine Breillat’s Romance dares to ask: What if romance has nothing to do with flowers, dinner dates, or monogamy? What if romance is the painful negotiation between two bodies?
Marie, a young schoolteacher, is in a suffocating relationship with Paul, a handsome model who refuses to have sex with her. He tells her he still loves her, but he finds sex “trivial.”
From Romance (1999) , I was led to:
Using a famous porn star in an art film was unprecedented. Siffredi’s character, Paolo, delivers a monologue about his penis being a “tool” while performing explicit acts. Critics called it “pornography dressed as philosophy.”
The 1999 French film (also known as ), written and directed by Catherine Breillat, remains one of the most polarizing entries in the "New French Extremity" movement. Critical Overview Critics generally agree that
Romance was released on DVD and Blu-ray by Lionsgate (U.S.) and Artificial Eye (UK). Special features typically include interviews with Catherine Breillat, a theatrical trailer, and an essay by film scholar Laura Mulvey.
The search for is not about finding a quaint love story. It is about locating one of the most audacious, uncomfortable, and intellectually rigorous films ever made. Catherine Breillat’s Romance dares to ask: What if romance has nothing to do with flowers, dinner dates, or monogamy? What if romance is the painful negotiation between two bodies?
Marie, a young schoolteacher, is in a suffocating relationship with Paul, a handsome model who refuses to have sex with her. He tells her he still loves her, but he finds sex “trivial.”
From Romance (1999) , I was led to:
Using a famous porn star in an art film was unprecedented. Siffredi’s character, Paolo, delivers a monologue about his penis being a “tool” while performing explicit acts. Critics called it “pornography dressed as philosophy.”