Posts Tagged “Roberto Garzelli”

LE SENTIMENT DE LA CHAIR
2010

March 4, 2011
Cinequest 21
France
French
91 Minutes
Drama / Romance
Roberto Garzelli

Benoit = Thibault Vincon
Helena = Annabelle Hettmann

Sure, it was late, and I had been up since 5:30. And I had worked a full day. And it was my third film of the day. But holy cow, what the hell was this one all about? Helena is getting her degree in Anatomical Drawing (they didn’t offer that at UC Irvine when I was there). She observes surgeries and medical students dissecting cadavers with her sketch pad always at the ready. She believes in the beauty of the outside of people–birthmarks, scars, curves, and whatnot. She can apparently mount a successful breast examination in the shower.

Sent to the doctor because of some back pain, she somehow notices that the sexy practitioner has taken an x-ray of her, but not lower back where she’s feeling the pain. Confronted, he at first makes excuses, but then admits that he’s fascinated by a slight abnormality in her anatomy. You see, he is turned on (in the sexual and non-sexual sense) by human anatomy that differs from the norm. I’ve forgotten what her difference is, but she is not angry about a second, unnecessary x-ray, but rather turned on by his semi-professional attention.

They make a date. And have sex all over the place. Often. She memorizes his moles, he can picture her internal organs. It’s a match made in “Gray’s Anatomy.” She entices him with ever more medically intrusive procedures so that he can “know” her inside and out. MRI? Check. Surgical Scope? Check.

The ending had my audience tittering. At least those who stuck around for it. It isn’t a completely sucky movie, and I kinda get the whole “if you really loved me, you know everything about me and my body” vibe it’s going for. In fact, the feeling I got most from it was David Cronenberg’s CRASH (not to be confused with the Best Picture travesty by Paul Haggis). Where something medical and sexual combine in character’s heads. In CRASH, it was the excitement of a car crash and the disfigurement that brought. In this one, it’s how much you can expect your lover to know about your skeleton and internal organs.

I won’t say anything about the final shot, except that, though I understood the director’s reasoning, it was impossible to pull off.

March 12, 2011: Upon Further Review: I kept thinking of David Cronenberg while I was watching SENTIMENT OF THE FLESH, but now after a few days to ponder, I think I’m leaning more towards the style of Catherine Breillat. She typically takes the viewer on a wild ride that ratchets up the fetish and social acceptability until few are left at the end singing its praises. This can be rape or body fluid or murder. Some Breillat viewers only last five minutes, while others finish even the least accessible of her films, happy for the experience. SENTIMENT OF THE FLESH made a rather severe leap from realistic to plausible to way-out-there a bit too quickly, perhaps, but the themes were in line with Ms. Breillat’s work.

THE SENTIMENT OF THE FLESH.

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Written by Michael W. Cummins