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Reviews2
def_toned_dave's rating
Claire Denis' work, Trouble Every Day is An example of a strange mix, as a horror film, it supplies prodigious amounts of sex and gore with a wildly over-the-top mise-en-scène.
A pair of newlyweds, Shane (Gallo) and June (Tricia Vessey), jet to Paris for an idyllic honeymoon for a couple deeply in love.
Shane's interest in Paris isn't for its romantic possibilities, but rather a scientific researcher named Leo Semeneau (Alex Descas). Both of the couple were guinea pigs in the doctor's research of the human libido. The end result of the experiment was a new meaning to the phrase "sexual appetite." Now, Shane's desperate for a cure he can't consummate his marriage without it for fear of harming his bride. Gallo's performance is touching and fearless as a man desperately fighting his own nature. In the film's most affecting and uncomfortable scene, Shane tries to make love to June, only to recoil in fear. This is little sense of overt gore, but there is enough to encapsulate the horror in which these two people have devoted themselves.
A pair of newlyweds, Shane (Gallo) and June (Tricia Vessey), jet to Paris for an idyllic honeymoon for a couple deeply in love.
Shane's interest in Paris isn't for its romantic possibilities, but rather a scientific researcher named Leo Semeneau (Alex Descas). Both of the couple were guinea pigs in the doctor's research of the human libido. The end result of the experiment was a new meaning to the phrase "sexual appetite." Now, Shane's desperate for a cure he can't consummate his marriage without it for fear of harming his bride. Gallo's performance is touching and fearless as a man desperately fighting his own nature. In the film's most affecting and uncomfortable scene, Shane tries to make love to June, only to recoil in fear. This is little sense of overt gore, but there is enough to encapsulate the horror in which these two people have devoted themselves.
The story of a 'pirate' woman and social outcast of a provincial village. She turns to prostitution and seduces her clients into ruin. The themes of mockery remain strong, despite the common background of a small hut with bright colors in woodland. Greed and bigotry are present throughout, yet are refreshed with humorous characters and twists in the dialogue. The final blow for sexual and social revenge in humorous sequence struck in the church. The heroine (Bernadette Lafont) dances off down the open road, leaving behind the remains of a strange abstract sculpture of fridges, showers and junk, as she is portrayed as yet another 'free spirit'.