Maruschka detmers interview tips

Of course, in the final ver- sion of the film the two things that come out most strongly are the sexual relationship and the imagi- nation, the fantasy, risk, creativity. But this social element always has to be there as well— in differ- ent ways in different films, depending on the sub- ject — because otherwise they become too intimate, too internalized.

Yes, he also developed an antibourgeois po- lemic, one that was ferocious and severe! For Pasolini, homosexuality represented a kind of revolutionary act. What interests me is the relation between man and woman, in which there are mul- tiple possibilities for protest against society. This is the big difference between me and Pasolini. The relation be- tween man and woman, at all its levels, at the mo- ment of truth, reveals what one is.

People can use these images however they want; but for me, these things will certainly return in my future films. You said at the screening that your film was typically European. What did you mean by this? There is also an audience in the United States, naturally, which is more respectful and more attentive to this kind of cinema. It seems to me that your films of the last ten years are much less plotted, that you are trying to express yourself more on a figural and visual level than through narrative and character.

Therefore the visual dis- course is becoming much more sophisticated, and more demanding than it was in the past. On the other hand, I think that in order to con- front — at least for me, from my point of view — certain themes, a novelistic, extremely realistic type of structure is no longer sufficient. This is also true concerning the criticism of society and of institu- tions, I think.

We need to go further inside in order to discover motivations, origins that are deeper than those that can be conveyed through realistic structures. This is one of those contradictions in which one continually lives. And any time you make a film it can become part of a certain journalistic game, a certain curiosity, and so the public can sometimes get interested in seeing even a difficult film.

Some critics even suggested that you in- cluded the fellatio scene, for example, to make the film more commercially successful. Of course not. This very brief scene has at- tracted a great deal of attention, completely out of proportion to its part in the film. This is the kind of game that the media play. And sometimes, with- out meaning to, it can even have a positive outcome at the box-office level.

But even the more traditional love scene earlier in the film seemed very strong to me, intentionally very different from most other films. You have to remember that cinema is represen- tation. When you see two people making love, it has to seem natural and real. What makes a film pornography, on the other hand, is a kind of me- chanical repetition.

In these two most recent films, I wanted to show love-making without the usual technique of allusion or symbolization but without making it too naturalistic either.

Maruschka detmers interview tips

This requires not so much realism but an extraordinary amount of in- volvement on the part of the actors. This story, both on the sound track and in the images, I thought should just be left as it was, because at the same time they were repre- senting the act of love. The discourse of the fiction, of the representa- tion, is actually very similar, but not equal to, a real relation.

In any case, I thought that in the scene of fellatio the representation is what prevailed in that particular scene, even though it was real. It was im- portant to see both of the characters because both of them were in a certain sense losing their vir- ginity. So I would say that even though the scene is prolonged, the style of this par- 54 ticular scene is very traditional in a way.

But even here what I was interested in producing was not a real sexual act, but a representation of change and acceptance. You see it, you have to see the erection of the penis. But I can say with absolute certainty that what inter- ested me in this scene was not the act itself, but her happiness. She goes from being depressed to a sense of play, of happiness, and that was my intention.

What do you think now of your earlier films? They still seem enormously powerful and disturb- ing to me, and my students were quite upset when I showed them Fists in the Pocket recently. Well, they belong to a personal historical phase that is of course not repeatable. Without a doubt Devil in the Flesh is also the sort of film that clearly showcases the difference in perception, creative freedom, and social expectations between Europe and North America.

Being the first X rated film to be distributed in America by a mainstream studio Orion after the notorious Emmanuelle Devil in the Flesh was quickly limited to an audience that had certain expectations from a film that clearly does not belong in the above mentioned category. As a result the reception which Devil in the Flesh received in North America was substantially different than the manner in which the film was introduced in Europe.

In fact, in the extensive interview provided with this DVD release Marco Bellocchio specifically addresses the fact that American distributors and critics simply "didn't get it the film ". I tend to agree with such a statement considering the fact that this film is so much more than the sum of its parts as the explicit erotica and unfortunate censorship categorization gave it a regrettable fame that neither the film not its actors deserved.

To understand the approach which Marco Bellocchio followed in Devil in the Flesh one should look back at the political and cultural climate in Italy at the time. The 80's were a time when the country was exposed to a bitter political and economic crisis and film directors naturally responded to it. In addition, the sexual revolution which Europe was undergoing had an enormous effect on the film industry in Italy.

Naturally, Devil in the Flesh combines elements that very much epitomized Italy in the 80s- complicated political climate and a desire to unbridle sexuality as a form of protest. Explicit sexuality is also what made Devil in the Flesh the subject of passionate discussions between both critics and audiences around the world. Some saw the sexual scenes as being out of context and claimed that they unnecessary offered extra spice to an already provocative story where a school-boy falls in love with an older woman.

I remember that the felatio scene caused quite a shock between those lucky enough to see the film uncensored and subsequently Devil in the Flesh reached a rather sad cult status between "serious film aficionados". My opinion has not really changed all that much during the years. I believe that Dutch-born actress Maruschka Detmers was phenomenal portraying a person very much consumed by her desire to survive the sad events surrouding her life.

The second group of people that went and saw the film, me included, regarded it is a mirror reflection of Italy from the 80s. An original trailer almost as "X - rated" as the film is also present, along with a brief poster gallery. An unusual interview short subject produced for the disc gives us two authentic ex- Red Brigade members, both female, who talk rather pointlessly about sex in the Brigades, especially in prison.

Without more background on the notorious political guerillas we haven't a clue as to what the women represent. The vague discussion comes off as irrelevant to both the movie and recent Italian political history - a history so complicated, I'm not sure many Italians could understand it. The most sensible extra is the disc's thorough liner notes.

Bellocchio answers three questions in an interview done at the time of the film's release. Giona A. Nazzaro offers a concise career overview for the director and Allessandro Marenga sketches some background for the Red Brigades. The lead-off essay by Richard Harland Smith gets much more to the point by analyzing Devil in the Flesh as a high-profile sex film.

He notes that Bellocchio's psychoanalyst heavily influenced the filmmaker at this time, and reports that the film's notorious sex scene came about as the result of improvisation by the playful actors, at the director's encouragement. Republished by permission of Turner Classic Movies. Rylance has been hailed in British theatrical circles as the new Laurence Olivier, though he seems subtler and less spectacular than his illustrious predecessor.

Hence, it may seem almost sacrilegious for two awesome talents to participate in the first on-screen blowjob in a film without subtitles in the history of non-pornographic cinema. Most of the critics have so far dismissed Intimacy as a turgid piece of sensationalism, and I doubt that the film plays well with general-even so-called adult-audiences.

I will not discuss the protective veil of denial for a viewer after leeringly surrendering to the come-on. And I think if he had compromised in the usual discreet peekaboo manner, the movie would have been completely pointless. Here we get into the problem of multiple auteurs, and the difference between literature and cinema. Trividic, while Mr. And then the hurly-burly pub pandemonium in the film seems closest to the style of Mr.