Curiosa - Die Kunst der Verführung

I suppose I should have expected as much given the premise and subject matter, but there's a level of sexuality infused into this picture exceeding what I supposed. Like Arnaud Rebotini's flavorful score, often employing anachronistic instrumentation or sensibilities of composition (e.g., folks circa 1900 were big into EDM, if you didn't know), I wonder if some such dialogue or scene writing (and direction, and cinematography) doesn't apply modern notions thereof to this period drama, though I suppose it's just as likely that people have always been so obsessed with sex and societal standards just meant it was kept more discreet. All this is particularly relevant, I think, in light of tinges of crass boorishness that in my mind rather seems to reflect modern College Bro braggadocio more than Actual People - but hey, what do I know. In this screenplay I think such flourishes reflect tawdry excess more than meaningful plot or character writing, though in fairness such notes are in their own way woven into the proceedings as the story progresses. For, one way or another, this is a tale of pornography and love, plainspoken indiscretions in marriage and more underhanded ones between lovers, deceit, manipulation, exploitation - and above all, passion. I do very much like 'Curiosa,' in fact, and I think it's a swell credit to all involved. It's just that this goes a little overboard, I think, in mixing twenty-first century conceptions of film-making and sexuality with its early twentieth or even late nineteenth century setting; moreover, no matter how well it's done, sometimes this carries itself more as a highfalutin variation on softcore than earnest drama.

If these are all too many words, however, let me speak more candidly. Noémie Merlant continues to impress as a great actor of tremendous skill; she has undeniable range and can easily pull off poise, nuance, sensuality, emotional depth, and anything that a role may require of her. I look forward to much more to come for her. I'm less familiar with Niels Schneider, yet there's an admirable strength in his acting that definitely paints him as someone to watch; Camélia Jordana is unknown to me, but even in her limited supporting part she shows wholehearted personality and physicality that makes me want to find more of her works. The rest of the cast is just as swell, if less prominent - and more important here, perhaps, is the lovely artistry that courses through the picture, borne out partly by the cast and at least as much so by the efforts of those behind the scenes. I've leveled some criticism at some of the choices made here, yet it's also true that painstaking care was taken to make 'Curiosa' a rich experience beyond its most sensational facets. To wit: Merlant is as splendid a model as she is an actress, heeding the requirements of the film. Though occasionally overexcited, it's more true that there's a mindful precision and loving eye in Simon Roca's cinematography, making the visuals warm and pleasant, not least of all with the poses arranged for the nude photography. I think these qualities extend as well to Lou Jeunet's direction, much more than not; even Rebotini's music, superficially ill-fitting, is likewise charming in its own right. And this is to say nothing of superb costume design, hair, and makeup, and the production design and art direction are plainly outstanding.

I think there's a distinct imbalance in the feature as it presents, and not for the mere fact of various narrative elements having been included, but more specifically in the measures and times in which they were plotted out in the storytelling. There are the titular objects, and the complications that go along with it; the adjoining love affair, and the sometimes fraught dynamics; as the length advances 'Curiosa' also delves more into the complicated relationship between Pierre, Louise, and indeed Henri. There's the more charged or high energy aspects of the movie, and the more quiet or thoughtful aspects; the more scandalous moments, and the more tactful; the characters' lives outside their dalliances - that is to say, what Pierre and Marie were otherwise known for in real life - are little more than a footnote shoved to a corner. None of this is abjectly wrong (arguable excesses aside), but it does seem to me like the proportions are askew, or the timing of when they're mixed in. With all this having been said, there's no mistaking that the title is much less than perfect, and I can understand why reception has been lukewarm. Still, though my own opinion went back and forth a bit while watching, overall I quite enjoyed it. It's well made all around, and even at its weakest is duly engaging. Despite its faults I had a good time, and I think it's deserving on its own merits. Ultimately this may not be something that completely demands viewership, but if one can abide the more questionable parts, 'Curiosa' is worth checking out if one happens to come across it.