Dirty Like An Angel -catherine Breillat- 1991- -

One of the reasons Dirty Like an Angel is so challenging—and so rewarding—is its deliberately anti-naturalistic style. Breillat, who came of age during the French New Wave but quickly rejected its sentimental humanism, stages much of the film as a kind of chamber theatre. The settings are sparse: a sterile police station office, a drab interrogation room, a featureless apartment.

Dirty Like an Angel (1991) - Catherine Breillat - Letterboxd Dirty Like an Angel -Catherine Breillat- 1991-

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The Brutal Intimacy of Catherine Breillat Dirty Like an Angel (1991) One of the reasons Dirty Like an Angel

Lio’s Barbara never seduces. She never pouts, never crosses her legs provocatively, never lowers her voice to a purr. Her power is in her utter lack of performance. She is a blank mirror in which Georges sees his own diseased soul. Her beauty is not a weapon; it is an accidental fact, like the color of a stone. This is the most subversive element of the film. Breillat decouples female desirability from female desire. Barbara is desirable to Georges precisely because she does not try to be desirable. She simply is . Dirty Like an Angel (1991) - Catherine Breillat

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