Verbal references to sex, prostitution and bodily functions.
Sex scenes are shown, but are usually quite brief. Female rear nudity and full frontal nudity is shown in some scenes.


Film review:Translated by www.rabudo-ru.com


To be the lover of prostitutes

They are very happy, comfortable and satisfied

And I broke my arm

To embrace the white clouds

——Baudelaire’s Lament of Icarus

In ancient Mesopotamia, all women had to spend some time in the temple, where they received men for sexual intercourse. Prostitution at that time would not be regarded as moral degeneration or violation of the law. With the changes of asset economy and political system, prostitution experienced a process from prosperity to decline, whether in the east or the West. The film director Bertrand brier starts with prostitution and skillfully deconstructs the current moral and human spiritual situation with a genius like expression.

Prostitute Mary lives a peaceful and happy life. No matter the identity, age or appearance of her clients, she will take the initiative to get happiness from the sex trade. She will also introduce this happiness to other women, so that they can get rid of the passive position, take the initiative to get pleasure from sex, and even don’t need money. But she still looks forward to a traditional love, a strong man is always around her, and she will feel the existence of love every day. One day he found a beggar in the garbage. She took the beggar home and gave him meat and bread. She found the masculinity and brutality that those obscene clients did not have in this untidy man. She deeply fell in love with this man, Jean Nuo. Jean Nuo also appropriately stimulated Mary with light violence. Mary obtained the greatest pleasure and supreme happiness in the violence. She is not satisfied with this. She asks Jean Nuo to pimp her to make this life more lasting. She wants to buy Jean Nuo’s heart with all her whoring money.

When Nuo gang got rid of his beggar status and became a pimp, he was full of gratitude and longing for his new life, “he is a clean man every day”. But the boring pimp life still made him tired soon. He used real violence against Mary. At this time, he met a female manicurist and established an ambiguous relationship with her. A number of women have since established this relationship with Jano. If the relationship between Jean Nuo and Mary is similar to marriage in the traditional sense, then this marriage is just a kind of free whoring and being whored, which is a retail prostitution. Jean Nuo’s relationship with other women is wholesale prostitution. The former is maintained in disguise and compromise. For example, Mary wears pajamas after making love to make Nuo feel “as warm as home”; The latter is maintained or replaced in the temptation and release of money and hormones. The director inserted a symphony with strong religious meaning into the sexual scene of Jean Nuo and Mary, which seems to ridicule the sexual morality or marriage morality from the ideological root.

Sweet orange is the name of the manicure mentioned above. She is a seemingly implicit woman, just like every safe woman. But behind this appearance is also a heart eager to open up life. She didn’t want to destroy morality, but she loved Jean Nuo and let her go to prostitution. If she didn’t go, she didn’t love Jean Nuo. Jean Nuo also bought her a car. All kinds of temptations and threats made her finally enter a room in the hotel. But this time the client was an undercover policeman, and her first prostitution failed. She regretted it afterwards. There are also a large number of mainstream people in the video. They may be politicians, assets and good husbands in the family. They appear indecently in Mary’s home. Avoid or compensate them for their seemingly normal life outside with all kinds of abnormal sex.

The video mocks almost all male female relations and socially recognized values. In the end, the director did not put forward his own views, but made a non-linear and progressive differentiation and disintegration of each view. The scene of the trial in the police station is divided into several paragraphs interspersed in the film. In fact, during the trial, the director has explained what to say in the next story, that is, he edited it in the way of segmental flashback to explain the argument of the trial result (or problems during the trial), but this argument is often skeptical and subversive of the result. A similar ingenious way of expression is to let the characters in the video say a few words to the camera from time to time. I don’t know whether the director wants to tell the audience that this is not life but a film, or whether he wants to tell the audience. This is about you!

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