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The Sex Party review – spiky comedy fails to satisfy
Bigotry in the bedroom … Timothy Hutton and Pooya Mohseni in The Sex Party. Photograph: Alastair Muir
Timothy Hutton on The Sex Party: ‘Do I think it will be controversial? I don’t know …’
Original reporting and incisive analysis, direct from the Guardian every morning
© 2022 Guardian News & Media Limited or its affiliated companies. All rights reserved. (modern)
Menier Chocolate Factory, London There’s tension in Terry Johnson’s tale of four couples meeting for sex and nibbles but the unruly debate isn’t deep enough
A t first, The Sex Party looks like a retro BBC sitcom about swingers, although that term is banned at this adult shindig. Four couples collect for sex and nibbles at a cool north London postcode. There is gleeful talk about getting it on and a fair share of parading around in lingerie and thigh boots.
But Terry Johnson’s spiky comedy takes us from the familiar fare of smut and sniggering double entendres to something bolder and more awkward in the sex/gender debate at its centre, even if it does not reach a satisfying end.
We only ever see what happens in the high-end kitchen (set designed by Tim Shortall) but we get a vivid idea of the action in the living room from the moans and groans we hear. In a production also directed by Johnson, the acting stays fine across the board although the characters are flimsy (Lisa Dwan especially does wonders with her part) and the star casting of Timothy Hutton stays strangely marginal for too long. He drifts on and off stage, saying little and looking like a cliched California guru in yoga pants.
The dialogue often goes off on random, unruly riffs; one character (Will Barton) talks about taking MDMA and the dialogue sounds under the influence too.
The play’s grenade is lobbed as the first act closes, with the entry of Lucy (Pooya Mohseni), a trans woman, and from here on in it feels like another play altogether. Doris Lessing, in a Penguin introduction to Lady Chatterley’s Lover, wrote that what happens in the bedroom is a “report on the sex war” outside it and it seems to be the case with this living room; suddenly, no one wants to convene there and a very live tension is in the air.
Much is flung at us, from talk of toilets to language and JK Rowling and it feels genuinely edgy. It is brave of Johnson to grapple with a debate that has become so divisive that a meeting of this kind would be unimaginable in real life. But arguments come thick and fast without being explored. Johnson seems to be shooting an arrow through the issues of the day – including, too briefly, consent – but it comes to feel like a dramatised version of Twitter.
The room exposes its bigots and we finally see the point of Hutton’s character but as more plot-points are lobbed at us in the closing moments it feels much less like a sitcom than an entire series rolled into one production.
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Decision to Leave is a powerfully erotic piece of filmmaking from Park Chan-wook, and it manages to do that while largely eschewing sex.
It’s always fun to talk about good movies with other people. What use are films if they don’t bring us closer to people, including good friends that are also obsessed with cinema? So it was with Decision to Leave , a feature that me and a dear friend of mine saw, despite living so many states apart, on the same day. That evening, we talked about the feature endlessly and dissected all the finer details of Park Chan-wook ’s superb filmmaking. In this discussion, I was reminded of another virtue of these kinds of conversations. Talking about these features can end up exposing you to new ways of appreciating a movie you love.
In this case, my friend observed that Decision to Leave was so incredibly erotic despite the two primary characters never sharing a memorable bedroom scene. Once she raised this note, I couldn’t get it out of my head nor all the ways Chan-wook weaves an erotic atmosphere through such creative means.
Jang Hae-jun ( Park Hae-il ) is a detective who can't get any sleep, but he often gets just the right clues to figure out major crimes. While he could use some more Z's, he seems to have a perfectly satisfying life, particularly in a happy marriage with his wife, Jung-an ( Lee Jung-hyun ). When Hae-Jun is investigating the sudden death of a mountain climber, he begins to interview the man's wife, Song Seo-Rae ( Tang Wei ). Everyone suspects her of having something to do with this guy's death, but Hae-Jun, he's just becoming romantically infatuated with her. As he begins to watch her over as part of stakeout duties, his passion for Seo-rae begins to truly blossom. This is where the eroticism of Decision to Leave begins to truly take root.
Early on in Decision to Leave , we see the film’s only prominent sex scene, concerning Hae-jun and Jung-an. However, during this display of physical intimacy, it’s also apparent where this detective’s emotional desires truly lie. As his mind wanders to other elements in the room like a television set that remains on, we see that Song Seo-Rae has captured his gaze. She’s the one now filling his psyche, not the woman he’s sleeping with right now. Hae-Jun may say on the outside that he just wants to follow protocol, but his internal desires suggest something completely different.
It's in this scene that we witness one of the many motifs that Park Chan-wook incorporates to suggest how much stirring passion Hae-Jun and Seo-Rae feel without actually having the duo express those feelings to one another. While having sex with his wife, Hae-Jun’s eyes dart to a TV showing a movie, but not just any motion picture. This is an epic period piece romance, with a man and a woman gushing over their deeply committed relationship with one another. Later on, a similar sequence depicting two lovers in what appears to be a nuclear testing facility also has fictional in-universe characters speaking the kind of rhetoric that Hae-Jun and Seo-Rae cannot speak to one another. It wouldn’t be proper. It would be against protocol. And who knows if they’d be able to stop loving each other if they opened those floodgates?
Park Chan-wook’s erotic filmmaking sensibilities also extend to various pieces of symbolism incorporated throughout Decision to Leave . Chan-wook is a masterful director and part of his mastery in this particular film is maintaining such a compelling mystery movie aura while also engaging in some mischievous imagery. Most notably, Hae-Jun has quit smoking after doing so for many years. This becomes a bit of a challenge when he’s suddenly around Seo-Rae, who even smokes when she’s cooking dinner. She offers him a cigarette, but much like with the concept of embracing her, he turns it down.
This cigarette smoking doesn’t just function as a parallel to their forbidden romance but also provides a phallic symbol for Hae-Jun to contend with. The cigarette protruding from her lips is a reminder of the physical intimacy they cannot share. On the other side of the coin, Seo-Rae spends the last scene of Decision to Leave on a beach covered in rushing water. While the cigarette represents male genitalia, all this water can’t help but evoke typical symbolism for female sexual satisfaction. The crushing sense of longing between these two characters is accentuated by not just their emotions for one another, but also rampant reminders of their own sexual agency. On TV, in cigarettes, and at the beach, their desire to embrace one another is omnipresent.
On a more intimate level, there are also the great shots realized by Chan-wook and cinematographer Kim Ji-yong in a scene where Hae-Jun and his wife randomly encounter Seo-Rae with her new husband at a marketplace in Ipo. Here, Jung-an and this new lover begin to take up a casual conversation while Hae-Jun and Seo-Rae find themselves unable to take their eyes off one another. The framing of this conversation often finds clever ways of emphasizing how Hae-Jun and Seo-Rae are still consumed with one another. They can’t say anything, lest they alert their respective partners to their infatuation, but the tight close-ups and intimate yet dialogue-free gazes here speak volumes. Even without touching one another, let alone having sex, the two leads of Decision to Leave are still sharing a passionate spark of romance.
It’s intriguing that these visual terms to convey eroticism while eschewing sex come about in Park Chan-wook’s directorial follow-up to The Handmaiden . That 2016 masterpiece featured several unforgettable on-screen sex scenes shared between Izumi Hideko ( Kim Min-hee ) and Nam Sook-hee ( Kim Tae-ri ). There, the explicit presence of sex was a fantastic way to show Hideko and Sook-hee taking control of their identities as human beings. They were women confined to the expectations men had placed on them for so long and, when engaging in physical intimacy with one another, they could finally be free.
Park Chan-wook, never one to just repeat himself, has opted to go in a fascinatingly opposite trajectory with Decision to Leave . A passionate romance also drives the storyline of this directorial effort from the acclaimed filmmaker, but now, there’s a greater tragedy associated with the affection since there’s a haunting ambiguity on how much or how little Seo-Rae had to do with the death of her mountain climber husband. Because of this, not to mention Hae-Jun’s job as a detective meaning he can’t get close to a potential suspect, these two characters have to find other more creative means of conveying their lust for one another.
This means that the absence of sex is what drives both the heart and eroticism of the piece just as overt sex scenes reinforced those two elements in The Handmaiden . The restrained manifestations of eroticism in Decision to Leave are impressive on so many fronts, including in how they reflect Chan-wook’s versatility as a filmmaker and even simply just how steamy they make Decision to Leave . It’s impossible to deny a movie that so vividly captures a captivatingly erotic romance, especially when it’s something like Decision to Leave that accomplishes this feat without ever putting Hae-Ju and Seo-Rae in a traditional sex scene.
Douglas Laman is a life-long movie fan, writer and Rotten Tomatoes approved critic whose writing has been published in outlets like The Mary Sue, Fangoria, The Spool, and ScarleTeen. Residing both on the Autism spectrum and in Texas, Doug adores pugs, showtunes, the Wes Anderson movie Fantastic Mr. Fox, and any music by Carly Rae Jepsen.
From Wikipedia, the free encyclopedia
2022 Indian movie directed by Nirmal Sahadev
Giju John Nirmal Sahadev Sreejith Sarang Jakes Bejoy
Kumari is a 2022 Indian Malayalam -language mythological fantasy film written and directed by Nirmal Sahadev , featuring Aishwarya Lekshmi in titular role. It also features Shine Tom Chacko and Surabhi Lakshmi in supporting roles. [1] The film is produced by Giju John, Nirmal Sahadev, Sreejith Sarang and Jakes Bejoy under the banner The Fresh Lime Sodas. Abraham Joseph is the cinematographer of the film, while Jakes Bejoy has composed the songs. Kumari is co-produced by Aishwarya Lekshmi , Priyanka Joseph and Mridhula Pinapala [2] [3]
The film hit the theaters in Kerala on October 28, 2022.
The film will be released on Netflix on November 18, 2022.
Cinema Express writes Kumari is Powered by a heavily folklore-influenced narrative that bears elements of a gothic horror story or a monster feature, Kumari is one of those films with all its departments well-balanced. [4]
The New Indian Express writes the most impressive aspect of Kumari is its visual texture heavy with ominous foreboding. [5]
A critic from The Hindu wrote that "Director Nirmal Sahadev, who debuted with Ranam, an action drama set in Detroit, has improved his game marginally, but a shallow script pulls Kumari down". [6] A critic from onManorama said that "The plot, however, is stuck in a rulebook of the genre, if there is one. The characters' tension doesn't convey to the audience. The narrative flows in a rather predictable manner, leaving little moments of thrill and fear". [7] [8]
It received 6.7/10 in ' mvexpress ' calling the film as a best fantasy thriller Malayalam movie of the year.
George Abraham Theckel gave the movie 7.3/10 and titled the film as the one of the best thrillers in 2022.
The music was composed, programmed and arranged by Jakes Bejoy and one song composed by Manikandan Ayyappa.
This article about a film in the Malayalam language is a stub . You can help Wikipedia by expanding it .
Arivu , Athul Narukara, Srihari Tharayil
Arivu , Athul Narukara, Jakes Bejoy
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Kumari is a 2022 Indian Malayalam-language mythological fantasy film written and directed by Nirmal Sahadev, featuring Aishwarya Lekshmi in titular role. It also features Shine Tom Chacko and Surabhi Lakshmi in supporting roles. The film is produced by Giju John, Nirmal Sahadev, Sreejith Sarang and Jakes Bejoy under the banner The Fresh Lime Sodas. Abraham Joseph is the cinematographer of the ...
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