Eden and After



IMDb Rating 6.5 10 1


Downloaded times
August 17, 2021


902.4 MB
fre 2.0
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by christopher-underwood 7 / 10 / 10

clearly had a liking for young ladies in very short mini dresses

Director, Alain Robbe-Grillet clearly had a liking for young ladies in very short mini dresses and their being chased and sometimes caught and sometimes more. Well he films this so beautifully and has such a beautiful lead in Catherine Jourdan that it is hard to object too much. I understand this was inspired by composer Schoenberg's original twelve tone technique and so there are a number (twelve actually) elements of narrative with repetition but I'm not sure I'm too interested in all that. The film is wonderful to look at, at all times and has some sort of narrative flow but it can be an effort to stay with it because nothing ever seems to be resolved or made very clear. The director, of course wrote Last Year at Marienbad and the pretty young Jourdan appeared with Marianne Faithful in, Girl on a Motorcycle.

Reviewed by matheusmarchetti 8 / 10 / 10

Hypnotic Maze of Psychosexual Insanity

This is one of the horror genre's most delirious, imaginative, nightmarish and disturbing films ever made, on the same vein of Andrej Zulawski's "Possession" and, to a lesser extent, Harry K├╝mel's "Malpertuis". Directed by Alain Robbe Grillet (who wrote the screenplay for the equally enigmatic "Last Year in Marienbad") does not disappoint in creating a suffocating dreamlike atmosphere, as he takes the audience, through the eyes of the protagonist, in a "Alice in Wonderland"-like trip, with a little Marquis De Sade twist. The story is told basically through striking, thought provoking imagery, with dialog kept to a minimum, something that can be very unappealing to some, but I found it particularly fascinating. We follow the Mia Farrow-lookalike Catherine Jourdan as Violet, who goes to Tunisia in order to find out the truth behind the strange death of a mysterious man she met at a bar (the Eden of the title) during one of her friends' drug-induced games. That's basically all I can tell you, because it's a film so difficult to describe in words, you just have to see it for yourself to understand. Grillet's script, just like the film's setting, is a twisted, mind-bending labyrinth of sexual deviance and murder, where nothing is what it seems. In fact, once you've seen it, exactly how much of the events actually did happen, and if so, what did they mean. As in "Marienbad...", Grillet haunts the viewer with many questions, which may or may not be answer within this maze of a film. As mentioned before, it may not be everyone's cup of tea, but if you like this kind of deliciously bizarre, surreal film that will undoubtedly leave you scratching your head long after you've watched it, this one is a must see. It's kind of hard to find, but it's really worth it.

Reviewed by pstumpf 8 / 10 / 10

Image(inary) or "real"?

Typically elliptical Robbe-Grillet "narrative" about college students playing games with and enacting quasi-dangerous pranks on each other, mostly in a Mondrian-inspired cafe with colored panels and mirrors, until a Magus-like stranger inspires (?) or leads (?) them to more dangerous pursuits and practices in Tunisia. Or is it all a fantasy of the lovely protagonist, Violette (Catherine Jourdan)? What is real, and what is imaginary? Nothing in movies is real, except for the image itself, including the images of actors enacting behavior that is not real, but which represents the imagination of the writer/director. Many familiar R-G tropes here: beautiful women in bondage, and in blindfolds; a glass shattering on the floor; violent sexual encounters; exotic locales. Is there an underlying profundity here, or is it all just a provocative intellectual game of repetitive themes and obsessions, masterfully strung together in a sequence of beautiful images and sounds? The latter, one suspects. Everything is on the surface, even the violence; scenes of Russian roulette a deux, or a suicide by revolver in a blood-filled bath, evoke no real emotion in the viewer, apart from an admiration for Robbe-Grillet's ability to put his rather specialized fantasies on film for the delectation of cinemaddicts everywhere.

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