“There must be a bit of your husband, too” – WEEKEND (Jean-Luc Godard, 1967)

Godard’s Weekend came out in 1967, and has maintained its rage against bourgeois society for over fifty years. From the perspective of Cannibal Studies, it has everything. Cannibal movies are about appetite and power and what, if anything, can counter those fundamental forces of nature. Weekend is about appetite (rampant consumerism), class struggle, and of course the revolution. All are treated as deadly serious and hilariously funny.

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Godard’s previous movie in 1967, La Chinoise, was explicitly Marxist, but Weekend is more anarchist in tone; no one escapes unskewered from Godard’s piercing insight into the absurdity of social interactions. There are no heroes or even sympathetic characters – humanity is depicted as greedy, corrupt and narcissistic.

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Corinne (Mireille Darc) and Roland (Jean Yanne) are in the car, heading to Corinne’s mother’s home, where they intend to either cheat her or kill her. The road is lined with gridlocked traffic and horrendous car accidents filled with corpses, all of which they ignore.

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Both are also planning to cheat on each other, once they get the money. Greed, corruption, influence are their only motivations, and the other motorists are beneath their notice, except when they need clothes, which they shamelessly loot from the wrecks. Anyone who stops them is liable to feel their teeth.

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Only when their own car crashes does Corinne express any emotion.

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They spend days on the road with only the clothes they wear and an apparently bottomless packet of cigarettes, and come across a range of characters, including the Jacobin leader Louis Antoine de Saint-Just and Emily Bronte, whom they set alight, enraged that she is just an imaginary character.

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After killing the mother and getting the fortune, they are kidnapped by group of revolutionaries called the Seine-et-Oise Liberation Front, who enthusiastically rape and eat their captives.

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Godard’s vision of the modern guerilla army skirmishing in the outskirts of the cities was a perceptive prophesy of what would a few years later appear as the Red Brigade and the Weathermen. But this group are also cannibals, which allowed me the pleasure of re-watching, for this blog, a movie that still perturbs me some fifty years after I first saw it. The cannibalism of course points backwards to the history of revolutionary betrayal – the Terror of the French Revolution that gobbled up everyone from Danton to Robespierre, the swallowing up of the Bolsheviks by Stalin, and the Chinese Cultural Revolution, in which cannibalism was used as a political weapon. Capitalism is about consumption, but so, too often, are the alternatives.

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In Godard’s absurdist world, we’re either being eaten by the cannibals, or joining them.

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Next week: Hannibal Lecter putting aside childish things, in Hannibal Rising.

Loving and biting: “TROUBLE EVERY DAY” (Denis, 2001)

Trouble Every Day (its real title, not a translation from French) is a love letter from director Claire Denis to Paris, the ‘city of love’. It opens with some serious French kissing and there is a lot of oral action during the film – kissing, licking, biting, eating – they are all variations on the theme of seeking pleasure through oral connection.

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Variety described the film as “”over-long, under-written and needlessly obscure” but that is not uncommon in American reviews of French films. It lingers on images, particularly Paris, sometimes beautiful, sometimes grey and seedy, sometimes both, the grunge lit by the sunset.

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Like any big city, Paris is a place to seek love, make love, hide, sometimes get killed (and sometimes even eaten). Certainly the city (not just Paris) is famous for eating up and spitting out its residents, at least on a metaphoric level. And sex, particularly in Paris it seems, tends to be a mixture of tenderness and extreme violence.

The plot is simple and immune to spoilers – people are obviously going to get eaten (it happens a lot, particularly on movies reviewed on this cannibal blog) and that action starts pretty much right away. Coré (Béatrice Dalle) lures men with the promise of sex, then tears them to pieces and eats them. Léo (Alex Descas) loves her, protects her, buries the bodies, cleans her up, kisses her and then locks her in her room when he goes to work. But she always escapes (helps that she has keys and electric saws hidden strategically around the room).

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When a couple of neighbours take his absence as an opportunity to break in, well, you can guess the rest.

Shane (Vincent Gallo) and June (Tricia Vessey) arrive in Paris for their honeymoon, but Shane has other images filling his mind, and we glimpse some of them even as he sits, desolate, in the plane’s toilet, not even bothering to have a wee (come on – you know how hard it is to get a turn in one of those?)

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Shane is seriously creepy and, as he stares down at June in their Paris hotel, we find that his loving is also not without teeth.

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Turns out he knew Leo and Coré, worked with them on bioprospection research, looking for plants that would cure nervous diseases, mental diseases and problems of libido. Think there is any money in that lot? But Leo was impatient with their caution, wanted to test it on humans. And of course, that experiment backfired. Some plants heal mental diseases and libido, others turn you into cannibals. C’est la vie.

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But the plot is not so important. Denis is telling us that love, or at least sex, is about touch, communion, intimacy. And what is more intimate than not just kissing and biting your partner, but swallowing, incorporating them? The definition of marriage in the Bible is “they shall become one flesh”. Cannibalism is the ultimate expression of that – once the blood is wiped off, the lovers have indeed become one flesh.

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The movie got 50% on Rotten Tomatoes website, so no one can quite make up their mind. I liked (although disagreed with) the review in the Seattle Times:

“I’m not sure these words have ever been together in the same sentence: This erotic cannibal movie is boring.”

The film is probably a lot more disturbing on the big screen, as Denis glories in extreme close-ups, particularly of touching, kissing, licking, bleeding, as well as lingering on areas of the body that usually don’t make it into Hollywood films (but usually do in French films). Luckily, having sat through a guy having his tongue ripped out and a hotel maid being raped and killed, there is at least, at the end, a puppy.

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Meating the future: “DELICATESSEN” (Caro & Jeunet, 1991)

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Delicatessen is a classic French black comedy set in a post-apocalyptic village where seeds and grains are the exchange currency. The butcher advertises for handy-men in a journal called Hard Times and then slaughters the applicants and sells their meat to his weird tenants, who have surrealistic activities: a man who lives in a flooded room full of frogs and snails, a woman who constantly fails at suicide attempts so involved they would be worthy of Wile E Coyote, and two brothers who manufacture mooing machines for no apparent reason.

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The trailer for Delicatessen is a scene from the early part of the film, where the butcher, Clapet (Jean-Claude Dreyfus) is having sex with a woman (Karin Viard) who seems to be as much captive as partner.

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As his lustful tempo, played out on the squeaky bedsprings, increases in speed, so do the activities of all the tenants: the butcher sets the pace in this world (and by implication in our world too).

Into this house of horrors comes a gentle (vegetarian) clown, Louison (Dominique Pinon), who has left the circus after his partner, Doctor Livingstone, was eaten.

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Livingstone, it turns out, was a chimp, but his sorrow is no less real for that.

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The butcher’s daughter, Julie (Marie-Laure Dougnac) falls in love with him and tries to warn him of his likely fate.

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Julie dreams about the upcoming butchery of Louison, and decides to save him. To do this, she has to seek the help of the Troglodistes, an underground group who are vegetarian and hate the “surfacers”, who hunt them. Their motivation is the 30 bags of corn in her father’s house. Her motivation: love. Her father’s: meat. Can there be a more French theme? She returns to find:

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But he’s a clown – this is a new act he is rehearsing.

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Since Louison did not appear on the steps last night, where the killings are done, the butcher is instead selling bits of the mother of one of the tenants. As the tenant leaves the butcher, a neat packet of her mother’s flesh under her arm, she says:

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“We’ll do that now” her husband assures her.

Look, none of it makes any sense, but that’s to be expected. All we can conclude is that voracious appetite (of which cannibalism is the highest form) doesn’t pay.

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And love always triumphs…

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… even if it’s underwater.

The director Marc Caro’s cameo (in goggles).

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Rotten Tomatoes currently gives Delicatessen an impressive 89% “fresh”. The Washington Post called Delicatessen “a tasteless variation on Sweeney Todd set geographically near the border of Terry Gilliam’s Brazil” while Unsung Films said it was “reminiscent of Amélie – and …much braver”. Amélie was the director Jean-Pierre Jeunet’s 2001 masterpiece.

Empire summed up Delicatessen as “simply essential viewing for vegetarians”.

Cannibalism films often have that effect.

 

IF YOU LIKE MY BLOG, PLEASE FEEL FREE TO RECOMMEND IT (WITH DISCRETION) TO FRIENDS ON SOCIAL MEDIA.
IF YOU HAVE ANY QUESTIONS OR COMMENTS, YOU CAN USE THE TAG, OR EMAIL ME ON CANNIBALSTUDIES@GMAIL.COM.