Цитата:
Сообщение от WearyAtlas Pramo kak v zizni! A sem konchilos' to? )))))) |
Да я пока и сам не знаю чем это всё кончится, посмотрим...
The titular center of the world is a matter of perspective in Wayne Wang's (The Joy Luck Club, Smoke) notorious, explicit drama of emotional isolation and sexual commerce in the modern world. According to rich, apathetic cyber-geek Peter Sarsgaard (Boys Don't Cry), it's his home computer. Amateur rock & roll drummer and part-time stripper Molly Parker (Wonderland) deems it an erotic part of the female anatomy. Their "date" is merely a sexual contract that takes them to Las Vegas, a place as phony and impersonal as their so-called romance. "You know it's just an act, right?" she reminds him between her slinky bump-and-grind striptease shows and their sweaty sexual gymnastics.
The Internet makes a great metaphor for modern social alienation, with its impersonal communication and virtual sex, but there's not much else new in this familiar story other than the erotic content. Shot on dimly lit, high-definition video, the gray, washed palette sucks the glamour and titillation right out of the spectacle, turning it into an empty, soulless exercise in physical sensation and self delusion--appropriate to this story of lonely souls unable to break through their own isolation. --Sean Axmaker
From The New Yorker
Explicit, eyeglass-fogging sexual games from the director Wayne Wang. A nerdy, rich Silicon Valley computer engineer, Richard (Peter Sarsgaard), pays the beautiful freckle-faced stripper Florence (Molly Parker) to accompany him to Las Vegas for a three-day weekend. She agrees but with many conditions (no kissing on the lips, no penetration, strictly limited business hours). Richard is paying, but he wants feeling and emotion; Florence wants nothing but control. The movie, shot with a handheld digital camera, has a dreamy surface and the aura of a reverie, but there's also a bit of suspense floating in the erotic cloud: will Richard get Florence to respond to him? A friend of Florence's named Jerri (Carla Gugino), who is her opposite in every way-dark, fleshy, needy-threatens to take the movie to a dangerous place, but she storms off, leaving the two inarticulate principals to mop up. Written by Ellen Benjamin Wong, working from a story by Paul Auster, Siri Hustvedt, Miranda July, and Wang. -David Denby
Copyright © 2006 The New Yorker
