list http://www.spout.com/ Recent community activity around Trouble Every Day on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Trouble_Every_Day/192670/default.aspx Title: Trouble Every Day
Year: 2002
Director: Claire Denis
Plot: Two strangers share a strange and terrible bond in this stylish horror tale that juggles sex and graphic bloodshed. Shane Brown (Vincent Gallo) is a strange man with a forbidding nature who has just married lovely but nervous June (Tricia Vessey), and they've decided to go to Paris for their honeymoon. In the City of Lights, a beautiful but dangerous woman named Core (Beatrice Dalle) has been leaving a trail of dead bodies in her wake when she's captured by Leo Semeneau (Alex Descas), a mysterious scientist who spirits her away to his estate. As Core is placed under guard, Semeneau leaves to return to the city for an unnamed assignment; we soon learn that one of Shane's reasons for coming to Paris was to find him and retrieve some important information. In time, we also discover that Shane and Core have something rather unusual in common -- both are murderous cannibals who regularly feast on the flesh of their victims, and Semeneau's information may hold the key to the secret behind their deadly appetite. Trouble Every Day generated a certain amount of controversy in its screenings at the 2001 Cannes Film Festival, where a number of patrons walked out in disgust at the film's intense blend of sensuality and cannibalism. ~ Mark Deming, All Movie Guide
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]]>Mon, 23 Feb 2009 12:59:16 GMTTrouble Every Day2002Claire DenisTwo strangers share a strange and terrible bond in this stylish horror tale that juggles sex and graphic bloodshed. Shane Brown (<a href="/players/P____90927/default.aspx" style='text-decoration:underline'>Vincent Gallo</a>) is a strange man with a forbidding nature who has just married lovely but nervous June (Tricia Vessey), and they've decided to go to Paris for their honeymoon. In the City of Lights, a beautiful but dangerous woman named Core (Beatrice Dalle) has been leaving a trail of dead bodies in her wake when she's captured by Leo Semeneau (Alex Descas), a mysterious scientist who spirits her away to his estate. As Core is placed under guard, Semeneau leaves to return to the city for an unnamed assignment; we soon learn that one of Shane's reasons for coming to Paris was to find him and retrieve some important information. In time, we also discover that Shane and Core have something rather unusual in common -- both are murderous cannibals who regularly feast on the flesh of their victims, and Semeneau's information may hold the key to the secret behind their deadly appetite. Trouble Every Day generated a certain amount of controversy in its screenings at the 2001 Cannes Film Festival, where a number of patrons walked out in disgust at the film's intense blend of sensuality and cannibalism. ~ Mark Deming, All Movie Guide1Slightly Tagged (1-5)2214http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Trouble_Every_Day/192670/default.aspxFilm http://www.spout.com/blogs/puhnner/archive/2009/2/23/40593.aspxPost By: Puhnner
Post To: Puhnner Blog
Post Date: 2/23/2009 7:59:16 AM
Body: an interesting review here, with all sorts of 'spoilers', but worth a read before or after watching Trouble Every Day... http://www.filmfreakcentral.net/screenreviews/troubleeveryday.htm Plaintive and sad, Claire Denis' remarkable Trouble Every Day is a rare combination of honesty, beauty, and maybe even genius. It isn't enough to say that the picture captures the barbarism festering at the core of gender dynamics; nor is it sufficient to express my frank amazement at how Denis subverts genre in ways perverse and powerful. Here's a canny director who knows the vocabulary of cinema as well as the cruel poetics of sexual anthropology--perhaps it's enough to say that Trouble Every Day captures something ineffably true about the sex act with images vital, frank, and unshakable. We first see Coré (an oddly feral Béatrice Dalle) in a black nightie and an overcoat, standing in a field of winter wheat in a Paris landscape next to a rusted-out van. We first see Shane (a familiarly feral Vincent Gallo) on an overnight flight to Paris with his newlywed wife, June (Tricia Vessey). Because there's almost no dialogue in Trouble Every Day, we must surmise from early images that Coré has seduced and murdered--and perhaps partially consumed--a lascivious truck driver. We also uncover wordlessly Coré's husband Léo (Alex Descas) cleaning up her mess before locking her away in the attic of their Paris home. The attic, of course, is the place for Victorian women accused of sexuality and hysteria--Jung would know it as a place of the animus and the rational. Because Coré is the very embodiment of the animalistic irrational, she spends much of her time breaking out of her room or, in one of the film's most disturbing sequences, seducing a young lad through slats of wood like a Poe mistress. We also know that Shane probably suffers from the same malady because of the odd dream that he has in the airplane's toilet, and the way he nervously takes pills whenever his lovely young bride bats her eye. A bite mark on June's arm and, later, a wound on her lip, suggest that sometimes the pills aren't enough. Trouble Every Day is about sexual frustration, infidelity, and the pain of keeping a secret from your spouse or the loneliness of keeping one with her. (As a journal of a plague born of base urges it reminds of Larry Fessenden's inspired Habit.) The violence of the picture is as graphic as the eroticism: there's a poignancy to that equation just as there is something to be made of the fact that for the most part Denis locates the violence and the eroticism outside of both marriages. Legendarily gruesome and almost unwatchable in parts, the moments stickiest are the quiet ones: when Léo gently sponges his wife clean after one of her rampages, or when a green scarf is carried off by the wind after a day Shane and June spend like ordinary tourists. There is much unspoken melancholy in Trouble Every Day, all of it carried in the chasm opening between and beneath two couples with the capacity to love one another unconditionally. Even the title speaks to the drudgery of living with uncontrollable urges that have no place in polite society; the conventions of eating and fucking already skewered in Peter Greenaway's The Cook, The Thief, His Wife, and Her Lover get a brutal updating here that is less political than universal. When Coré chews off a paramour's face to his pathetic yowls and excruciating death rattles, there is something so familiar--so archetypal--in the imagery that it's at once breathtaking and disturbing for its exhilaration. Trouble Every Day causes one to examine the place of the self amidst social niceties as it satirizes the hubristic illness that allows people to separate themselves from animals--to repress base desires in ways unhealthy and unwise. It is a provocative film not for its indelible images, but for the unbearable weight of ferocious right embedded in those images. Note the crosses and arcs drawn in gore during one of Denis' and cinematographer Agnés Godard's immaculately composited tableaux, the amazing trust in the instructive power of silence and the gaze, and the extreme close-ups of the human body as it's reduced to landscapes of imperfect flesh. Denis' gift here is her ability to articulate the ways in which the creative process intersects with the procreative instinct: religious iconography described in charnel, inexpressible sacrifices demonstrated with mute gesture, and maps of strange geographies drawn on fields of skin. This is Clive Barker territory, or David Cronenberg reduced to image and totem. Trouble Every Day is a tone poem of transgression. Its themes are grounded in the existential divide between head and body and the ways that "consumption" and "knowledge" are consecrated words that attempt to leash unlearned compulsions under the yoke of civilization. It inspires such deep shifts in the personal fundament because it's absolutely right, even if the question is too complicated and unsavoury to articulate. It's disturbing because its essence is concerned with love, passion, and devotion: how it differs between the sexes (compare Coré's transgression with Shane's) and how, ultimately, it rules us even when we rail against it. Mesmeric and entrancing, intuitive and impossibly intimate, the picture is alive with craft, intelligence, and the absolute courage of its macabre vision. Trouble Every Day is among the finest films of the year, but handle it with care.-Walter Chaw
]]>Mon, 23 Feb 2009 12:59:16 GMTPuhnnerPuhnner Blog2/23/2009 7:59:16 AMan interesting review here, with all sorts of 'spoilers', but worth a read before or after watching Trouble Every Day... http://www.filmfreakcentral.net/screenreviews/troubleeveryday.htm Plaintive and sad, Claire Denis' remarkable Trouble Every Day is a rare combination of honesty, beauty, and maybe even genius. It isn't enough to say that the picture captures the barbarism festering at the core of gender dynamics; nor is it sufficient to express my frank amazement at how Denis subverts genre in ways perverse and powerful. Here's a canny director who knows the vocabulary of cinema as well as the cruel poetics of sexual anthropology--perhaps it's enough to say that Trouble Every Day captures something ineffably true about the sex act with images vital, frank, and unshakable. We first see Cor&eacute; (an oddly feral B&eacute;atrice Dalle) in a black nightie and an overcoat, standing in a field of winter wheat in a Paris landscape next to a rusted-out van. We first see Shane (a familiarly feral Vincent Gallo) on an overnight flight to Paris with his newlywed wife, June (Tricia Vessey). Because there's almost no dialogue in Trouble Every Day, we must surmise from early images that Cor&eacute; has seduced and murdered--and perhaps partially consumed--a lascivious truck driver. We also uncover wordlessly Cor&eacute;'s husband L&eacute;o (Alex Descas) cleaning up her mess before locking her away in the attic of their Paris home. The attic, of course, is the place for Victorian women accused of sexuality and hysteria--Jung would know it as a place of the animus and the rational. Because Cor&eacute; is the very embodiment of the animalistic irrational, she spends much of her time breaking out of her room or, in one of the film's most disturbing sequences, seducing a young lad through slats of wood like a Poe mistress. We also know that Shane probably suffers from the same malady because of the odd dream that he has in the airplane's toilet, and the way he nervously takes pills whenever his lovely young bride bats her eye. A bite mark on June's arm and, later, a wound on her lip, suggest that sometimes the pills aren't enough. Trouble Every Day is about sexual frustration, infidelity, and the pain of keeping a secret from your spouse or the loneliness of keeping one with her. (As a journal of a plague born of base urges it reminds of Larry Fessenden's inspired Habit.) The violence of the picture is as graphic as the eroticism: there's a poignancy to that equation just as there is something to be made of the fact that for the most part Denis locates the violence and the eroticism outside of both marriages. Legendarily gruesome and almost unwatchable in parts, the moments stickiest are the quiet ones: when L&eacute;o gently sponges his wife clean after one of her rampages, or when a green scarf is carried off by the wind after a day Shane and June spend like ordinary tourists. There is much unspoken melancholy in Trouble Every Day, all of it carried in the chasm opening between and beneath two couples with the capacity to love one another unconditionally. Even the title speaks to the drudgery of living with uncontrollable urges that have no place in polite society; the conventions of eating and fucking already skewered in Peter Greenaway's The Cook, The Thief, His Wife, and Her Lover get a brutal updating here that is less political than universal. When Cor&eacute; chews off a paramour's face to his pathetic yowls and excruciating death rattles, there is something so familiar--so archetypal--in the imagery that it's at once breathtaking and disturbing for its exhilaration. Trouble Every Day causes one to examine the place of the self amidst social niceties as it satirizes the hubristic illness that allows people to separate themselves from animals--to repress base desires in ways unhealthy and unwise. It is a provocative film not for its indelible images, but for the unbearable weight of ferocious right embedded in those images. Note the crosses and arcs drawn in gore during one of Denis' and cinematographer Agn&eacute;s Godard's immaculately composited tableaux, the amazing trust in the instructive power of silence and the gaze, and the extreme close-ups of the human body as it's reduced to landscapes of imperfect flesh. Denis' gift here is her ability to articulate the ways in which the creative process intersects with the procreative instinct: religious iconography described in charnel, inexpressible sacrifices demonstrated with mute gesture, and maps of strange geographies drawn on fields of skin. This is Clive Barker territory, or David Cronenberg reduced to image and totem. Trouble Every Day is a tone poem of transgression. Its themes are grounded in the existential divide between head and body and the ways that "consumption" and "knowledge" are consecrated words that attempt to leash unlearned compulsions under the yoke of civilization. It inspires such deep shifts in the personal fundament because it's absolutely right, even if the question is too complicated and unsavoury to articulate. It's disturbing because its essence is concerned with love, passion, and devotion: how it differs between the sexes (compare Cor&eacute;'s transgression with Shane's) and how, ultimately, it rules us even when we rail against it. Mesmeric and entrancing, intuitive and impossibly intimate, the picture is alive with craft, intelligence, and the absolute courage of its macabre vision. Trouble Every Day is among the finest films of the year, but handle it with care.-Walter Chaw http://www.spout.com/groups/HORROR_MOVIES_101/New_wave_french_horror/222/29061/1/ShowPost.aspxPost By: Macabre_FilmNut
Post To: HORROR MOVIES 101
Post Date: 5/13/2008 10:28:54 PM
Body: I remember that opening scene in the vehicle and the killer is proceeding to do something with a skull. Now for alll you that have seen Haute Tension, you know what I am talking about? From that point on after he is done and discards the head out the window, the movie proceeds to get better with plot and gore! After seeing that and not being disapointed. I have proceeded to watch most films from France. Since Malefique (2003) there has been a huge sucess in Movies over there. Problem with France is that only movies tthat are allowed on tv , are the only ones really allowed to be filmed over there. So movies like haute tension(High Tension (2003)), Sheitan (2006), Ils(Them (2006)), Calvaire (2004) and my favorite for this year À l'intérieur (2007). If it wasn't for StudioCanal releasing these, we may have never seen them this quick! Also Movies like Gasper Noe's Irreversible (2002) and I Stand Alone (1998) were really well done and not for the faint of heart. Also Claire Denis's film Trouble Every Day (2001) which was well done. I am curious to know, what other people may think, of all this new french horror? And there opinions on these movies?
]]>Wed, 14 May 2008 02:28:54 GMTMacabre_FilmNutHORROR MOVIES 1015/13/2008 10:28:54 PM I remember that opening scene in the vehicle and the killer is proceeding to do something with a skull. Now for alll you that have seen Haute Tension, you know what I am talking about? From that point on after he is done and discards the head out the window, the movie proceeds to get better with plot and gore! After seeing that and not being disapointed. I have proceeded to watch most films from France. Since Malefique (2003) there has been a huge sucess in Movies over there. Problem with France is that only movies tthat are allowed on tv , are the only ones really allowed to be filmed over there. So movies like haute tension(High Tension (2003)), Sheitan (2006), Ils(Them (2006)), Calvaire (2004) and my favorite for this year &Agrave; l'int&eacute;rieur (2007). If it wasn't for StudioCanal releasing these, we may have never seen them this quick! Also Movies like Gasper Noe's Irreversible (2002) and I Stand Alone (1998) were really well done and not for the faint of heart. Also Claire Denis's film Trouble Every Day (2001) which was well done. I am curious to know, what other people may think, of all this new french horror? And there opinions on these movies? http://www.spout.com/blogs/macabre_filmnut/archive/2008/4/23/27714.aspxPost By: Macabre_FilmNut
Post To: Macabre_FilmNut Blog
Post Date: 4/23/2008 6:59:32 PM
Body: I have a hard time writing reviews. I watch alot of independent and obscure films. This one came across my table through another friend of mine, that knew I was into the whole cannibal exploitation genre. If there is such a thing. Iam not a fan of Vincent Gallo but I like Beatrice Dalle. And the director Claire Denis superb. Then I heard people were fainting at the Cannes and the first film that came to mind for that type of raw emotion was,"Irreversible", which I loved. So I sat down and watche it and all i am going to say is that, this is the philosophical cannibal movie. It s an extremely interesting arthouse film to watch.
]]>Wed, 23 Apr 2008 22:59:32 GMTMacabre_FilmNutMacabre_FilmNut Blog4/23/2008 6:59:32 PMI have a hard time writing reviews. I watch alot of independent and obscure films. This one came across my table through another friend of mine, that knew I was into the whole cannibal exploitation genre. If there is such a thing. Iam not a fan of Vincent Gallo but I like Beatrice Dalle. And the director Claire Denis superb. Then I heard people were fainting at the Cannes and the first film that came to mind for that type of raw emotion was,"Irreversible", which I loved. So I sat down and watche it and all i am going to say is that, this is the philosophical cannibal movie. It s an extremely interesting arthouse film to watch. http://www.spout.com/members/0/tags/cannibal/MemberTagFilms.aspxcannibal
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