I’ve watched Paddington about 10 times (daughter loves it) and still watched the last 30 minutes at the weekend as it was on when I switched the TV on. Such a warm, funny film.
Still get nervous during the bit near the end when he’s in the chimney mind Too much peril…
I think my main counter to this is that, like say Manchester by the Sea, life and people’s actions/reactions can’t always be easily predicted or follow a “narrative”. Life is funny, tragic and horrible all at once. The two films deal with this idea very differently but they’re largely making the same point.
As for @saps (thanks for taking the time to respond btw), I think it’s probably better to see the film as an intentionally provocative satire on French Bourgeoisie society. These characters are largely ridiculous, but there’s still a lot of weird truths to what they do and how they act which can be seen everywhere, not less the amount of sexism Michelle has to put up with both at work, at home or in her social life. Now, whether using a rape/revenge plot as a device to explore this is justified is certainly questionable (and therefore I don’t exactly blame people if they didn’t get on with this film) but it is both thrilling filmmaking and such a strong performance from Huppert (who’s described the film as “post-feminist”) that although I found bits very uncomfortable (as they are supposed to be) I also found other bits genuinely funny and with some interesting ideas.
You are right that Michelle’s background is essentially a plot point, but therefore it colours a lot of her actions and motives (not just her not wanting to contact the police) and they are seen as unexpected given she’s essentially dealing with PTSD and an abusive childhood.
As for Verhoeven, I’ve not seen all of his work but he has always worked in the genre of singular exploitation thrillers. There is always going to be a sense of provocation with them and while it’s definitely relevant to question his motives in using rape for those means, I do believe Huppert’s role in the film (both on and off screen) holds it together (just) as it brings enough humanity and femininity to be simple exploitation. I doubt I’ll ever watch it again mind
out of interest did you get round to reading some interviews on it? Verhoeven very much seems like someone who doesn’t actually believe in the stuff he puts on screen, it’s for effect (again, still questionable if that’s ok but there’s some distinction to be made.
I guess I don’t know enough about French society to engage with the film on that particular level.
I’m glad I saw the film because I enjoyed having a strong reaction to it. I welcome a film that makes me uncomfortable and that makes me question my preconceptions, even one that challenges my fundamental beliefs but I found it ultimately weak and unconvincing.
yeah, I think if nothing else it’s succeeded in its basic function to get a reaction, I’d be surprised if no one watching it felt that, it’s just how you feel going deeper into it.
also, I’m not really an expert on French society, but pretty much every piece of French literature (film or written) has some sort of comment on it so
Watched Oblivion, the Tom Cruise sci-fi thing. Alright I suppose. It looked and sounded great. Kind of a conventional film in the end. But a decent enough way to pass time.