Eros(in Hollywood Movies) Eros (2004) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Eros on your mobile, tablets and ipads
Plot: A three-part anthology film about love and sexuality: a menage-a-trois between a couple and a young woman on the coast of Tuscany; an advertising executive under enormous pressure at work, who, during visits to his psychiatrist, is pulled to delve into the possible reasons why his stress seems to manifest itself in a recurring erotic dream; and a story of unrequited love about a beautiful, 1960s high-end call girl in an impossible affair with her young tailor. Runtime: 104 mins Release Date: 02 Dec 2004
Michelangelo Antonioni's Materialistic Mysticism Still Works (by Ted_Morgan)
Michelangelo Antonioni creates a small masterwork. Steven Soderbergh and Wong Kar Wai, unfortunately, are not up to his standards. Still, one great work out of three efforts rewards the viewer The silence of Antonioni's work continues to echo the emptiness of our modern world. Behind the silence is that secret violence that shapes our lives. Soderbergh has declined a bit in his vision, but the old master retains lucidity and insight. The DVD is excellent. I recommend watching the Antonioni work first. Then put the DVD aside for a moment when you tire of commercial television and holiday <more>
parades and endless football scores. The non-Antonioni sections are worse than American football. Watching them will improve your appreciation of televised American football.
'Eros' brings together three very different filmmakers, who are telling us, each in his own way, stories about love/lust/desire/dreams.The first segment The Hand is made by Wong Kar -Wai, with Christopher Doyle as cinematographer. It's a pure gem, gorgeous and intoxicating. Two very good actors: Gong Li and Chen Chang the bandit from 'Crouching Tiger, Hidden Dragon' . It's the Weltanschaung of Wong Kar-Wai, where eros is actually a mean to meditate about time: time that heals everything while not solving anything; time that's as illusory as happiness is; time <more>
that breaks any hope in the end, while showing you that it doesn't matter.I found the segment on youTube; unfortunately it has no subtitles, so if you aren't familiar with Chinese you are kind of lost. I will try to summarize the plot: a tailor sends an apprentice to one of his rich customers, who is a high-class courtesane in her prime; she has the sadistic impulse to humiliate sexually the boy. This creates a strange dependence of unrequited lust, that grows through the years, while the courtesane is gradually loosing her status. The rich patrons leave her, the means to keep her style are vanishing and she eventually becomes a prostitute of the lowest kind. The apprentice remains attached to her down to the end and puts all his erotic desire in creating a dress that substitutes for him the woman.Let's pass now to the second segment Equilibrium , created by Steven Soderbergh. It's a different kind of an animal: a voyeuristic puzzle based on circular references. A guy wonderfully played by Robert Downey Jr. comes to the shrink to complain about an obsessive recurrence: a splendid woman appears naked in his dreams, bathing and dressing in front of him. The shrink puts the patient on the coach and makes him tell all details, while trying to live the dream by himself ! Eventually the patient falls asleep on the coach and the shrink leaves the room. The patient wakes up in front of the woman of his dreams: she's actually his wife and the dream was the visit to the doctor! Or the other way around : As for the third segment Il filo pericoloso delle cose - The Dangerous Thread of Things , made by Michelangelo Antonioni, it was considered by many reviewers as the weakest part of the movie. Actually the segment of Antonioni is exquisite: an erotic fantasy subtly suggesting the sagesse of women in these matters. And you cannot compare the three segments in any way; each one follows a totally different approach.
10/10 only for Wong Kar-Wai's segment (by bastard_wisher)
For fans of Wong Kar-Wai, his segment "The Hands" is a must-see, as it ranks among his best, most fully-realized works. A truly stunning piece of work that not only summarizes everything great about his film-making, but which is also more focused and less indulgent than some of his more recent work. Unfortunately, the other two segments, from Steven Soderbergh and Michelangelo Antonioni respectively, don't fair nearly as well. Soderbergh's piece, titled "Equilibrium", is a tediously self-conscious exercise in cerebral cleverness, typical of his attempts at <more>
uncommercial "art" film-making as opposed to his usual faceless Hollywood products . It is basically the cinematic equivalent of an obnoxious faux-intellectual laughing at his own "witty" joke. It only further proves what a truly cold, soulless filmmaker Soderbergh is that his segment of an anthology film supposedly based around the theme of sex is completely devoid of sensuality of any kind. Antonioni's closing segment baring the appropriately pretentious title "The Dangerous Thread of Things" fairs slightly better, but not enough to prevent it from being a sad near self-parody from what was once one of cinema's leading lights. It is tempting to blame Antonioni's stroke which rendered him wheelchair-bound and mute in 1985 for his piece's dirty old man sensibility parts of it approach bad soft-core porn , but even that doesn't excuse the film's sheer almost laughable if it weren't so tragic pretentiousness. It could nearly pass as a parody of obtuse, incomprehensible European art films. That said, the film is still more than well worth watching for Wong Kar-Wai's film alone. Since it comes first in the chronology, you can easily watch it and then turn it off before the other two.
The Great, the Good and the Ungly (by scorseseisgod-1)
The problem with omnibus films, in which several directors contribute a segment to a common cause, is inevitably one outshines the others and you are forced to make a choice. Here are three of today's most prominent directors given thirty to forty minutes to expound on the linking themes of eroticism and desire. It is difficult to absorb the vision of one artist let alone three cinemasters, especially when two are not performing on all cylinders.The project was initiated by Stephane Tchal Gadjieff, producer of Antonioni's last feature, "Beyond the Clouds." Partially <more>
paralyzed from a stroke, the legendary director was still eager to continue making films. Inspired by his devotion, Gadjieff devised a trilogy focusing on the subject of "eros." According to the press notes, "The concept was to have two major young directors, who have been on record to say that they have been influenced by his film-making, accompany him. Each would do a segment on the erotic subject of their choice...Also, we wanted Antonioni to tell us near the end of his life what 'eros' was to him." After considering numerous candidates, Antonioni settled on a pair of diverse talents. His admirers of choice were Wong Kar Wai, Hong Kong's master of mood and unrequited romance "In the Mood for Love," "Days of Being Wild" and Indie-darling-turned Hollywood-heavyweight Steven Soderbergh "King of the Hill," "Ocean's 12" .When assembling a trilogy film, rule of thumb generally centers the weaker of the three passages while saving the best for last. "Equilibrium" received proper placement. In terms of everything from concept to execution, Soderbergh's segment is far outclassed by his colleagues'. With a patient's back to him, how does a bored shrink pass the fifty minutes? The director took great delight in building a tale of eroticism around Alan Arkin and Robert Downey, Jr., but the yuk stops there. Arkin is very amusing as the scoptophiliac psychiatrist who sneaks peeps in-between Downey's catharses, but it's a one-joke concept that at 27 minutes goes on far too long. Animation guru Tex Avery's paranoid masterpiece "S-h-h-h-h!" made better use of similar material, plus adding a mood paranoia, at one-seventh the length.Although built around him, for the sake of structure and pacing, the film should have opened with Anotonioni's segment. Co-scripted by lifelong collaborator Tonino Guerra "L'Avventura," "Blowup" , "The Dangerous Thread of Things" has been described as a "mental adventure." Carlo di Carlo, curator of Italy's Antonioni museum, says, "Antonioni wonders: is a film born first in response to an intimate need of its author or are the images destined to have a value - ontologically - for what they are?" A brilliant notion would one expect anything less of the director? , but given the allotted time, were it not for Mr. Carlo's guidance, I never would have been aware of this concept.An American and his Italian wife are so bored with each other that they barely notice the beauty of Antonioni's surrounding landscapes. He doesn't seem to care that she strolls through town in see-through attire. A beautiful young girl enters the picture, the plot vanishes and we spend the rest of the time focusing on textures both man-made and of the flesh.Wong Kar Wai's opening salvo is so powerful that it dwarfs everything that follows. Inspired by the SARS epidemic, the director fashioned his segment around "the act of 'touch.'" Once again Kar Wai's scorching, rain-soaked summers are painstakingly brought to life through cinematographer Christopher Doyle's unforgettable lensing. Chang Chen plays a nervous tailor's apprentice sent on his first solo fitting. Miss Hua Gong Li is a legendary concubine who strips the boy down, gives him hand release and instructs, "Remember this feeling and you'll make beautiful clothes." Years pass and even after countless fittings, the subject of their first encounter is never breached. The shame of listening to Miss Hua's sexual encounters each time he waits for their appointment only adds to his excitement. When sick and sponsor-less, she finally mentions the unmentionable, but her body is no good anymore. "All that's left is this pair of hands. You don't mind, do you?" When it comes to suppressing emotion and establishing mood through style, no one at work today can top Wong Kar Wai.Anyone who saw "In the Mood for Love" knows that these characters don't stand a chance at happiness, but plot is not the point. This is a film where style is not only subject, but substance as well. What he shows you is never as important as how he shows it. His approach is pure cinema, transcending and redeeming even the slightest of stories with the lens of his camera."The Hand" - ********* "Equilibrium" - ** "The Dangerous Thread of Things" - ******
What a treat! A film school in 104 minutes!Forget what the detractors say about this. Most seem to think that none of it is erotic enough and few "like" the Soderbergh and Antonioni projects.But you, dear viewer, you will know this as three explorations into how the eye creates the seductive impulse. And we have three masters, though I wish we also had Greenaway and Medem involved.I assume that these three did not collaborate in any way. I also assume that the sponsors did not specify that the projects be erotic, rather that they explore what it means to be erotically engaged.The <more>
first we see is by Kar-Wai Wong. His object of desire is Gong Li, who at 40 is still beautiful. She plays a prostitute who conspires to replace her old dressmaker with a young man. The subtitles call him a tailor, to emphasize the tale that he spins. She engages his desire-driven imagination, which binds him to her and brings out his very best in terms of the dresses he creates. She weaves him and through the clothes, he weaves her. Toward the end, the image is polished with her ill and out of favor, and he still as obsessed and caressing a dress he made, moving his entranced hand inside it. It is his hand the title denotes. At the very end, he tells a tale to his boss of his woman as back in the money, now fully his creation.The second entry is amazing. Soderbergh is often capable of creating plots with circular reference. And since the very beginning, this notion of one reality creating another has been at his center. But this outdoes even "Full Frontal."We have three dreams. One is the one we see first, a gauzy look through windows at an amazingly engaging scene: a beautiful redhead bathing and dressing. The dream starts as voyeurism through windows, but as is described later, our voyeur enters the dream as a participant. In the dream, he is on the bed dreaming.Shift to a psychiatrist's office, where we meet the dreamer, played by Downey, one of our few folded actors. He is a clock designer obsessed with this dream. Over time, he is enticed to lay down and segue from talking about the dream to actually enter the dream. During this time, the psychiatrist begins his own voyeurism out the window.Most reviewers saw this and thought the comic indifference was the point. Oh my. Their license to view films should be revoked.As Downey dreams, we enter the third world, the third dream. He pulls a trigger suggested in the earlier segment and wakes into the dream where he is now married to his desire, and he goes to clock-designer work where his assistant is the same guy as the analyst, except he is the one obviously insecure.All three worlds are set in the 50s. Which is the dream? Which is the source of pulling the desire into reality? Are dreams of desire cinematic or the other way around? Which of the paper airplanes connect?The third project is widely dismissed as the obsessive sexual impetulance of an old, fading man.The scene here is simple. A husband and wife have a spat. She is topless at first then puts on a transparent top as they go to a restaurant. There they briefly encounter another inhabitant of the beach resort where this is set. He visits this woman and they seduce each other, apparently a single event.Later, the husband and wife are reconciled. Both woman happen to be nude on the beach, both seemingly in a sensual plateau. They encounter each other; more precisely the wife encounters the other asleep, casts a shadow on her while she stirs. They stare at each other silently. Neither, incidentally, is particularly attractive.When the man and his affair begin, he has entered the "other" tower on the beach, after she wonders if he can stand her chaos, absolute chaos. Viewers seem to equate this with his famed trilogy about love from the sixties. Those were dumb films.How could they forget "Blowup," an essay on how cinematic memory bends or even defines reality. And how he stretched that into wonderful folded space in "Beyond the Clouds."You have to do some work here. You have to know that this is not about sex, or the erotic figure. Nor even anything at all having to do with examining a relationship. It is all about how perception defines the situation, moved erotically.Guess no one want to do the work. But if you are interested in film, you'll want to view these three notions of where the eye of love sits. With Wong, it is in the present, Soderbergh in the remembered and Antonioni the expected.I prefer Wong's world so far as experience. He even takes it as far as not having a script, but making up the movie as he shoots. Love should ideally be erotic, and the invention of that world should be one you coweave with your partner, dressing each other into the miracle.But these other fellows have hypnotic appeal as well.Ted's Evaluation -- 2 of 3: Has some interesting elements.
I just watched the film today, and can't help thinking that Almodovar who did the linking segments in between the films would have formed a more perfect EROS trio with WKW and Antonioni.Soderbergh's Equilibrium was the flimsiest and weakest short of the three for me, which was unfortunately compounded by the fact that it was wedged between WKW and Antonioni's contributions.To follow right after the sumptuous, poetic beauty of Doyle's cinematography and WKW's direction only worked to emphasize the lack of richness in the visuals as well as characters of Equilibrium. It <more>
also drew unnecessary attention to the overtly "talky" film set mostly in the clinical settings of a shrink's office - in marked contrast to the intimacy of inner emotion and longing displayed in full abundance in The Hand. Ele Keats in the erotic "dream" sequence in Equilibrium failed to conjure up an authentic sense of eroticism and depth, unlike Gong Li's character Hua, and like the rest of film, seemed flat in comparison.As for Antonioni, in what could very well be his last film, the sense of anticipation by the audience could have also created a lack of patience with the obviousness of Soderbergh's play between dream vs. reality, and also his mockery of psychologists/the psychoanalytic "talking cure" or therapy process.Like many of his best, Antonioni's short is a deceptively 'simple' film that suggests something deeper: the understanding of love/eros from the perspective of free-spirited women. Like many of his films, the main protagonists are female. To better understand Antonioni's films, it would be useful to try to get into the woman's psyche. Antonioni once said that he concentrates on women in his films because "they are more instinctive, more sincere. They are a filter which allows us to see more clearly and to distinguish things." The Dangerous Thread of Things obviously continues and, in my view, succeeds in this tradition.In the film, the first couple Cloe and Christopher shows how love can peter out when one ceases to be able to see the wood for the trees - the couple becomes too beset by petty things and the trappings of bourgeois life to appreciate greatness or grandeur in general: according to the synopsis on the film's website, "they barely notice the magnificent ruins and landscapes of Italy - let alone each other."One senses Cloe's persistent attempts to reconnect with nature: she prefers wearing little to nothing; in the first scene, the camera lingers on her dressing to go out, the dead time of allowing us to see her awkwardness in her attempt. Her American husband, meanwhile, is impatiently waiting for her in his sports car. He snaps at her when she repeatedly expresses that what they had was now finished, and brushes it off simply as just a matter of her withholding from sex with him even as she tries to express how all that was close to her in Nature before now feels oppressive when he is around.Christopher becomes attracted to the mystery girl who lives in a tower next door. Her freespirited cheerfulness reminds him perhaps of Cloe when they first met. He is attracted by the lack of imposed order 'chaos' within her house. She leads him up to the roof terrace - he is so affected by the magnificent view of the forest canopy that he is beyond words, momentarily forgetting even his lustful pursuit of the girl. They later make passionate love, making the most of the present without any burden or considerations about past or future. She tells him her name - Linda - he doesn't.Christopher is now in Paris. On the phone, Cloe expresses her longing for him to return; her love is ever present; she only wishes he would change his "attitude." We don't know what she finds so problematic to constantly seek quarrel with him - but maybe his American or consumerist/materialistic values jar with her liberal European or naturist ideals constantly seeking the 'purity' of a primal closeness with nature.The last scene of the two women taking turns doing a primal dance of unbridled joy on the beach, is rich with the symbolism of their becoming as one in spirit with nature and its rhythms. Their joyful re connection with nature and recognition of each other return us to that breathtakingly magical utopia at the canyon depicting two naked siren-like bathers singing in a waterfall.In terms of image and theme, the film is reminiscent of Picasso's famous Les DeMoiselles d'Avignon. Both shock with an honest depiction of the conflict between the male also representing modern civilisation and technological objectification response to the perceived conjunction of threat and temptation posed by female sexuality, nature, love and eros.To be fair, criticism of the seeming lack of stringency in the direction of the characters does to some extent hold water. There are multiple continuous shots of the couple, but these seldom convey the complexity of their relationship. Some of the shots could also conceivably have been better conceptualized and captured.This lapse is probably attributable not only to Antonioni's advanced age and health problems, but also to less than ideal cinematography. In a recent Taiwanese TV interview, WKW commented that the reason for any director in his 90s and not in the best physical capacity to want to still make a film would be to satisfy a desire, a love - perhaps this is precisely the eros in the world of film-making that is ultimately portrayed by these directors in the eponymous production.On the level of ambition and theme, however, Antonioni is still in his element. He did not set out to make just another softcore porn movie as most critics and viewers suggest, nor can it be said to be about nothing. "The Dangerous Thread of Things" is an accomplished film that will in time hopefully be seen for the real gem that it is.
After reading a few negative reviews, I recently watched "Eros" and was pleased with the whole film. The three stories are the views that Michelangelo Antonioni, Steven Soderbergh and Wong Kar-Wai have of eroticism, and in two of them the segments are what one would expect of their creators, confirming the auteurist film theory. Antonioni's "Il filo pericoloso delle cose" --inspired by texts from his book, "Quel bowling nel Tevere"-- is vintage Antonioni. Of the three filmmakers, he is the only one who choose a contemporary story, probably to prove at least <more>
to himself that after 40 years of making his tetralogy of alienation, men and women are still literally wandering and talking but not communicating, again women find solidarity among themselves, and technology is as usual an obtrusive part in the landscape of human relationships. The erotic element in this story is the rawest and most elemental of the three segments, triggered by a sex-hungry male who is depressing to his wife, and a toy to an occasional sexual partner; while the style is perhaps the purest, or at least the one told with the greatest economy of resources: few shots, sparse dialogue, natural sets, and a very simple storyline. In contrast, Soderbergh's "Equilibrium" has as many camera set-ups as possible, different levels of narration, alternate monochromatic and color sections, two stars, and an oblique-oniric-videoclipistic approach to eroticism, that mostly relies on Psychology 101 criteria, a strategy that, I guess, is intended to be funny. I did not find it very funny, although watching Alan Arkin made me smile, as he made me remember his maniac performances in "The Russians Are Coming, The Russians Are Coming", "Catch-22" and "Last of the Red Hot Lovers". I wondered what the short was doing in this compilation film, but since that is how Soderbergh views eroticism, that I respect. The final section , Wong's "The Hand", based on the tale "The Twilight of the Bottom Dancer" according to the director in an interview , illustrates the generalized or maybe "cliched" would be a more appropriate adjective notions of what the artistic approach to eroticism should be for example, the tailor introducing his hand in a dress , but Wong and cinematographer Christopher Doyle are remarkable image-makers, and Gong Li and Chang Chen give very good performances, that I guess that for a modern moviegoer this must be the best segment. It is very good indeed, with soft transitions, measured rhythm, and good dramatic structure, covering a long lapse in a few minutes, but I see it as the fine conclusion of what Antonioni started and Soderbergh continued. A good film, perhaps better to be seen alone, with no interferences.