It's been an interesting month on Netflix Instant, for reasons both good and bad. Among the bad is the usual loss of some very worthy titles on October 31 (see
previous post), but unlike in past months, the attrition has continued into mid month. It also seems to be taking an especially high toll on foreign films, a few of which are indisputable classics.
What else would you call
8 1/2,
The Bicycle Thief, and
The Cabinet of Dr. Caligari? All of these, surprisingly, expired on 11/15 (
note: The Bicycle Thief has since returned). Meanwhile, on 11/20 we'll lose a number of former Netflix mainstays, including the intriguing,
Memento-like romantic drama,
Novo (2002), starring a very easy-on-the-eyes cast headed by Eduardo Noriega and Anna Mouglalis;
Russian Dolls (2005), Cedric Klapisch's sequel to his young-bohemians-in-Barcelona ensemble comedy,
L'Auberge Espagnole; Jean-Claude Brisseau's controversial, sexually explicit
Exterminating Angels (2006); and a personal favorite,
Sex Is Comedy.
A kind of hothouse, female version of Truffaut's
Day for Night,
Sex Is Comedy is Catherine Breillat's witty look behind the scenes of a sexually charged coming-of-age film not unlike her own
Fat Girl. Getting to the heart of the dynamic between a director (Anne Parrilaud) and her emotionally needy actors, the film displays in hand-wringing detail the games and manipulations that become basic currency in the negotiations surrounding a movie sex scene. The performances are excellent and subtle all around (especially Parrilaud's channeling of Breillat herself), the humor is smart and sly, and the emotional resonance by film's end comes as a welcome surprise. This is one of the few Breillat films that feels less like an exercise or political statement and more an honest-to-goodness movie, with an actual beating heart. Yet it still gets across its message, in some ways making it the lighthearted antithesis of Brisseau's above-mentioned
Exterminating Angels, a semi-autobiographical fantasia that follows a similar, more explicit—and potentially more inflammatory—path. Come to think of it, these two films would make an excellent double feature. But be warned:
Angels can be pretentious and a bit baffling in that French arthouse way, and the line between sexual exploitation and
commenting on said exploitation has never been dicier. Prepare to squirm.
