Lacking both the stylistic bling of his trippy 2010 feature, “Enter the Void,” and the shocking violence of “Irrevérsible” (2002), this latest venture casts the writer and director less as provocateur than as evangelist. In the context of a movie-rating culture that, in America at least, has deemed the orgasm more offensive than the Uzi, “Love” has a touching innocence that diverges radically from Mr. ‘Drive My Car’: In this quiet Japanese masterpiece, a widower travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya.”.‘Passing’: Set in the 1920s, the movie centers on two African American women, friends from childhood, who can and do present as white.‘Spencer’: Kristen Stewart stars as an anguished, rebellious Princess Diana in Pablo Larraín’s answer to “The Crown.”.‘Summer of Soul’: Stevie Wonder, Mahalia Jackson, Mavis Staples and others shine in Questlove’s documentary about the Harlem Cultural Festival.

Scott and Manohla Dargis, selected their favorite movies of the year. This visual tranquillity, along with the characters’ heightened emotions, strips the film of salaciousness and highlights the only conversation it cares about: The one that runs from between the legs to between the ears. Hovering above the dancing tongues and torsos, or sitting quietly alongside them, his camera calmly observes without resorting to tricks or distractions.

Many of these squelchy encounters have a dreamy eroticism and a hazy beauty that owe less to the performers (though one threesome is like the naughtiest game of Twister ever) than to the significant skills of the cinematographer, Benoît Debie. (It also acquaints us with Murphy’s preening member, which has a starring role and a much livelier personality than its owner.) From there, we move back and forth in time and from one bed to another as the couple meet and bond, argue and copulate in a variety of configurations and with an assortment of partners. Noé gets down to business immediately with an interlude of mutual masturbation that introduces Murphy (Karl Glusman), an American film student living in Paris, and his lover, Electra (Aomi Muyock). You’ll have plenty of opportunity, as Mr. This ambition may be straightforward, but it is far from simple, as will become abundantly clear if you closely monitor your responses to its unsimulated explicitness. “Love,” the fourth, and easily the least unsettling, feature from the Argentine director Gaspar Noé, has but one goal: To tell the story of a romance entirely through sex.

Love gaspar noe 2015