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Deriving from eros , the Greek word for desire, eroticism is the philosophical examination of love and desire as they manifest in literature, photography, film, and other art forms.
Eroticism charges human stories with tenderness and connection, rage and desolation, and everything in-between.
Below is a list of 10 modern erotic arthouse films produced within the last 20 years. What makes them all unique is that they put aside the conventions of major blockbusters to consider desire from a diverse set of vantage points, many of which deconstruct sexual norms.
Each film is a contemplative and chaotic field, aimed at stimulating and expanding public perceptions of love and sexual connection. In this three-hour coming-of-age story, Abdellatif Kechiche uncovers the hurdles and heartbreaks that can underlie the most passionate of connections.
The sex scenes are raw and realistic, and the actors produce a fevered space where logic and reason break down in the carnal act.
The main character Franck Pierre Deladonchamps —who is confused between love and fleeting connection—falls for Michel Christophe Paou , another lakeside regular.
Franck quickly becomes absorbed in the power of desire and his illusions of love, and when he witnesses something horrific, he becomes an accomplice to the crime.
Mixing the the fetishization of technology the brute power of a car with erotic escapism, the couple seeks to overcome boredom and surpass the limitations of their bodies by playing chicken with death.
This movie is grotesque and bizarre—and it will probably leave you somewhat confused—but it is a fantastic, abstract exploration of desire that likens the fury of sex with explosions of shattered metal and glass.
In contrast, Bordwell states that "the art cinema motivates its narrative by two principles: realism and authorial expressiveness".
Art films deviate from the mainstream "classical" norms of film making in that they typically deal with more episodic narrative structures with a "loosening of the chain of cause and effect".
Mainstream films also deal with moral dilemmas or identity crises, but these issues are usually resolved by the end of the film.
In art films, the dilemmas are probed and investigated in a pensive fashion, but usually without a clear resolution at the end of the film.
The story in an art film often has a secondary role to character development and exploration of ideas through lengthy sequences of dialogue.
If an art film has a story, it is usually a drifting sequence of vaguely defined or ambiguous episodes. There may be unexplained gaps in the film, deliberately unclear sequences, or extraneous sequences that are not related to previous scenes, which force the viewer to subjectively make their own interpretation of the film's message.
Art films often "bear the marks of a distinctive visual style" and the authorial approach of the director. Why tell the story in this way?
Bordwell claims that "art cinema itself is a [film] genre, with its own distinct conventions". He claims that a film is considered to be an art film based on artistic status in the same way film genres can be based on aspects of films such as their budgets blockbuster films or B-movies or their star performers Adam Sandler films.
There are scholars who point out that mass market films such as those produced in Hollywood appeal to a less discerning audience.
To bridge the disconnect between popular taste and high culture, these film critics are expected to explain unfamiliar concepts and make them appealing to cultivate a more discerning movie-going public.
For example, a film critic can help the audience—through his reviews—think seriously about films by providing the terms of analysis of these art films.
So when controversial themes are explored, the public will not immediately dismiss or attack the movie where they are informed by critics of the film's value such as how it depicts realism.
Here, art theaters or art houses that exhibit art films are seen as "sites of cultural enlightenment" that draw critics and intellectual audiences alike.
It serves as a place where these critics can experience culture and an artistic atmosphere where they can draw insights and material. The following list is a small, partial sample of films with "art film" qualities, compiled to give a general sense of what directors and films are considered to have "art film" characteristics.
The films in this list demonstrate one or more of the characteristics of art films: a serious, non-commercial, or independently made film that is not aimed at a mass audience.
Some of the films on this list are also considered to be "auteur" films, independent films, or experimental films. In some cases, critics disagree over whether a film is mainstream or not.
For example, while some critics called Gus Van Sant 's My Own Private Idaho an "exercise in film experimentation" of "high artistic quality",  The Washington Post called it an ambitious mainstream film.
The films on this list are notable either because they won major awards or critical praise from influential film critics, or because they introduced an innovative narrative or film-making technique.
In the s and s, filmmakers did not set out to make "art films", and film critics did not use the term "art film".
The U. Murnau uses distorted art design and groundbreaking cinematography to create an exaggerated, fairy-tale-like world rich with symbolism and imagery.
Some of these early, artistically-oriented films were financed by wealthy individuals rather than film companies, particularly in cases where the content of the film was controversial or unlikely to attract an audience.
In the late s, UK director Michael Powell and Emeric Pressburger made The Red Shoes , a film about ballet, which stood out from mainstream-genre films of the era.
In Poland, the Khrushchev Thaw permitted some relaxation of the regime's cultural policies, and productions such as A Generation , Kanal , Ashes and Diamonds , Lotna — , all directed by Andrzej Wajda , showed the Polish Film School style.
In India , there was an art-film movement in Bengali cinema known as " Parallel Cinema " or "Indian New Wave". This was an alternative to the mainstream commercial cinema known for its serious content, realism and naturalism, with a keen eye on the social-political climate of the times.
This movement is distinct from mainstream Bollywood cinema and began around the same time as French and Japanese New Wave.
The most influential filmmakers involved in this movement were Satyajit Ray , Mrinal Sen and Ritwik Ghatak. Some of the most internationally acclaimed films made in the period were The Apu Trilogy — , a trio of films that tell the story of a poor country boy's growth to adulthood, and Satyajit Ray 's Distant Thunder , which tells the story of a farmer during a famine in Bengal.
Japanese filmmakers produced a number of films that broke with convention. Akira Kurosawa 's Rashomon , the first Japanese film to be widely screened in the West, depicts four witnesses' contradictory accounts of a rape and murder.
In , Kurosawa directed Ikiru , a film about a Tokyo bureaucrat struggling to find a meaning for his life. Seven Samurai , by Kurosawa, tells the story of a farming village that hires seven master-less samurais to combat bandits.
Fires on the Plain , by Kon Ichikawa , explores the Japanese experience in World War II by depicting a sick Japanese soldier struggling to stay alive.
Ugetsu , by Kenji Mizoguchi , is a ghost story set in the late 16th century, which tells the story of peasants whose village is in the path of an advancing army.
A year later, Mizoguchi directed Sansho the Bailiff , which tells the story of two aristocratic children sold into slavery; in addition to dealing with serious themes such as the loss of freedom, the film features beautiful images and long, complicated shots.
The s was an important period in art film, with the release of a number of groundbreaking films giving rise to the European art cinema.
Godard, a leading figure of the French New Wave, would continue to make innovative films throughout the decade, proposing a whole new style of film-making.
Following the success of Breathless , Goddard made two more very influential films, Contempt and Pierrot le fou , in and respectively.
Italian director Michelangelo Antonioni helped revolutionize filmmaking with such films as La Notte , a complex examination of a failed marriage that dealt with issues such as anomie and sterility; Eclipse , about a young woman who is unable to form a solid relationship with her boyfriend because of his materialistic nature; Red Desert , his first color film, which deals with the need to adapt to the modern world; and Blowup , his first English-language film, which examines issues of perception and reality as it follows a young photographer's attempt to discover whether he had photographed a murder.
Swedish director Ingmar Bergman began the s with chamber pieces such as Winter Light and The Silence , which deal with such themes as emotional isolation and a lack of communication.
His films from the second half of the decade, such as Persona , Shame , and A Passion , deal with the idea of film as an artifice. The intellectual and visually expressive films of Tadeusz Konwicki , such as All Souls' Day Zaduszki , and Salto , inspired discussions about war and raised existential questions on behalf of their everyman protagonists.
Federico Fellini's La Dolce Vita depicts a succession of nights and dawns in Rome as witnessed by a cynical journalist.
The film Last Year at Marienbad by director Alain Resnais examines perception and reality, using grand tracking shots that became widely influential.
Robert Bresson 's Au Hasard Balthazar and Mouchette are notable for their naturalistic, elliptical style. Russian director Andrei Tarkovsky 's film Andrei Rublev is a portrait of the medieval Russian icon painter of the same name.
The film is also about artistic freedom and the possibility and necessity of making art for, and in the face of, a repressive authority.
A cut version of the film was shown at the Cannes Film Festival , where it won the FIPRESCI prize. In , Andy Warhol released Blue Movie , the first adult art film depicting explicit sex to receive wide theatrical release in the United States.
In Iran, Dariush Mehrjui 's The Cow , about a man who becomes insane after the death of his beloved cow, sparked the new wave of Iranian cinema. In the early s, directors shocked audiences with violent films such as A Clockwork Orange , Stanley Kubrick's brutal exploration of futuristic youth gangs, and Last Tango in Paris , Bernardo Bertolucci 's taboo-breaking, sexually-explicit and controversial film.
At the same time, other directors made more introspective films, such as Andrei Tarkovsky 's meditative science fiction film Solaris , supposedly intended as a Soviet riposte to In and respectively, Tarkovsky directed two other films, which garnered critical acclaim overseas: The Mirror and Stalker.
Terrence Malick , who directed Badlands and Days of Heaven shared many traits with Tarkovsky, such as his long, lingering shots of natural beauty, evocative imagery, and poetic narrative style.
Another feature of s art films was the return to prominence of bizarre characters and imagery, which abound in the tormented, obsessed title character in German New Wave director Werner Herzog 's Aguirre, the Wrath of God , and in cult films such as Alejandro Jodorowsky 's psychedelic The Holy Mountain about a thief and an alchemist seeking the mythical Lotus Island.
The gritty violence and seething rage of Scorsese's film contrasts other films released in the same period, such as David Lynch 's dreamlike, surreal and industrial black and white classic Eraserhead In , director Martin Scorsese gave audiences, who had become used to the escapist blockbuster adventures of Steven Spielberg and George Lucas , the gritty, harsh realism of his film Raging Bull.
In this film, actor Robert De Niro took method acting to an extreme to portray a boxer's decline from a prizewinning young fighter to an overweight, "has-been" nightclub owner.
Ridley Scott 's Blade Runner could also be seen as a science fiction art film, along with A Space Odyssey Blade Runner explores themes of existentialism , or what it means to be human.
A box-office failure, the film became popular on the arthouse circuit as a cult oddity after the release of a "director's cut" became successful via VHS home video.
In the middle of the decade, Japanese director Akira Kurosawa used realism to portray the brutal, bloody violence of Japanese samurai warfare of the 16th century in Ran Ran followed the plot of King Lear , in which an elderly king is betrayed by his children.
Sergio Leone also contrasted brutal violence with emotional substance in his epic tale of mobster life in Once Upon a Time in America.
Other directors in the s chose a more intellectual path, exploring philosophical and ethical issues. Andrzej Wajda 's Man of Iron , a critique of the Polish communist government, won the Palme d'Or at the Cannes Film Festival.
Two of these films were released theatrically as A Short Film About Love and A Short Film About Killing.
In , Woody Allen made, in the words of New York Times critic Vincent Canby , his most "securely serious and funny film to date", Crimes and Misdemeanors , which involves multiple stories of people who are trying to find moral and spiritual simplicity while facing dire issues and thoughts surrounding the choices they make.
French director Louis Malle chose another moral path to explore with the dramatization of his real-life childhood experiences in Au revoir, les enfants , which depicts the occupying Nazi government's deportation of French Jews to concentration camps during World War II.
Another critically praised art film from this era, Wim Wenders 's road movie Paris, Texas , also won the Palme d'Or. Ingmar Bergman made Fanny and Alexander , which was shown on television in an extended five-hour version.
In the United Kingdom, Channel 4 , a new television channel, financed, in whole or in part, many films released theatrically through its Film 4 subsidiary.
Wim Wenders offered another approach to life from a spiritual standpoint in his film Wings of Desire , a depiction of a "fallen angel" who lives among men, which won the Best Director Award at the Cannes Film Festival.
In , experimental director Godfrey Reggio released Koyaanisqatsi , a film without dialogue, which emphasizes cinematography and philosophical ideology.
It consists primarily of slow motion and time-lapse cinematography of cities and natural landscapes, which results in a visual tone poem.
Another approach used by directors in the s was to create bizarre, surreal alternative worlds. Martin Scorsese 's After Hours is a comedy-thriller that depicts a man's baffling adventures in a surreal nighttime world of chance encounters with mysterious characters.
David Lynch 's Blue Velvet , a film noir -style thriller-mystery filled with symbolism and metaphors about polarized worlds and inhabited by distorted characters who are hidden in the seamy underworld of a small town, became surprisingly successful considering its highly disturbing subject matter.
The characters' masks erase all human personality and give the impression of total control over the "matter" of the image and its optical composition, using distorted areas, obscure visions, metamorphoses, and synthetic objects.
Japanese director Akira Kurosawa's Dreams depicted his imaginative reveries in a series of vignettes that range from idyllic pastoral country landscapes to horrific visions of tormented demons and a blighted post-nuclear war landscape.
The Coen brothers ' Barton Fink , which won the Palme d'Or at the Cannes Film Festival , features various literary allusions in an enigmatic story about a writer who encounters a range of bizarre characters, including an alcoholic, abusive novelist and a serial killer.
Lost Highway , from the same director as Blue Velvet , is a psychological thriller that explores fantasy worlds, bizarre time-space transformations, and mental breakdowns using surreal imagery.
Other directors in the s explored philosophical issues and themes such as identity, chance, death, and existentialism. Gus Van Sant 's My Own Private Idaho and Wong Kar-wai 's Chungking Express explored the theme of identity.
It was called a "high-water mark in '90s independent film",  a "stark, poetic rumination",  and an "exercise in film experimentation"  of "high artistic quality".
Daryush Shokof 's film Seven Servants is an original high art cinema piece about a man who strives to "unite" the world's races until his last breath.
One year after Seven Servants , Abbas Kiarostami 's film Taste of Cherry ,  which won the Palme d'Or at the Cannes Film Festival, tells a similar tale with a different twist; both films are about a man trying to hire a person to bury him after he commits suicide.
Seven Servants was shot in a minimalist style, with long takes, a leisurely pace, and long periods of silence.
The film is also notable for its use of long shots and overhead shots to create a sense of distance between the audience and the characters.
Zhang Yimou 's early s works such as Ju Dou , Raise the Red Lantern , The Story of Qiu Ju and To Live explore human emotions through poignant narratives.
To Live won the Grand Jury Prize. Several s films explored existentialist-oriented themes related to life, chance, and death. Zur Zeit haben wir auf Grund der aktuellen Verordnung geschlossen.
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