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To be sure, this ploy is self-evidently related to the commercial realities especially of DVD marketing. What should surprise us is that they have actually managed to do it as well as they have.

This is the third widely distributed film Egoyan has made with sex at its center, but the first to focus so clearly on the European tradition.

With the notable exception of a Grand Guignol denouement borrowed straight from Fatal Attraction , there is in fact nothing much Hollywood about Chloe.

That those tropes — especially the nudity — happen to be shared with American soft-core and the erotic thriller has long helped to guarantee both French and Canadian cinema strong ancillary markets stateside. The resemblance cannot be discounted, but neither should it constitute the only critical rubric for analyzing and evaluating the film. Both Where the Truth Lies and Chloe feature simulated sex between older major male stars and young starlets; and both feature sex between women.

The latter scene in Chloe is fairly indistinguishable stylistically from the soft-core staple, down to the elliptical cut from partially dressed in-plot-sequence kissing to musically accompanied close-ups of entwined naked bodies.

Why does it matter? Serious movies have sex and plenty of dreck does not. Chloe fits right into this auteurist trait, but the only way to distinguish it from its generic resemblance to the oft-mentioned Shannon Tweed is to suggest that the characters themselves are unable to separate their sexual tastes from the video tropes we see them acting out. And Moore has the capacity to make us believe it as few actors could.

But there is so much here to get in its way. And what about the rebellious and gifted teenage son, inexplicably equally adept as concert pianist and star hockey player. Is he in high school? The setting, all rectilinear floor-to-ceiling glass panels allowing total observation from any point, is patently unsuited for the coldly isolated family and a mother obsessed with spying on her son and husband.

Moore brings Chloe into her street accidentally on purpose partly to show the house off to her, and Chloe later insinuates her way into it by seducing the son. So that his mother can overhear. Later, in an equally implausible bid for privacy, he steps outside to have a cellphone conversation with his dad about his mom — naturally she sees and hears this one, too.

Both mom and dad receive compromising text messages on their handhelds. Nor is the Fatal Attraction -style response of the smitten Chloe at all persuasive; she goes straight for the jugular, both figuratively the son and then literally. Neeson and Moore play this extended scene in painfully realistic fashion, perfectly capturing its awkwardness and the difficulty they have in being honest with each other, the realism of the drifting apart of professional middle age.

Each of these scenes is risible in its own way, but each does provide a milieu for the character and establish a viable social context. So much for Anglo-American prudery.

There is a late-teenaged son in Nathalie , but he barely registers, except in one brief scene where Ardant sees him in bed with a girl through his open door and smiles tolerantly.

Wilson expands the role and ratchets up the tension straight into Egoyan territory, which, since Ararat , has featured intense, pretty young men who have serious issues with their mothers. The restored unity of the family is established by a simple sequence of eyeline matches across the crowded space of the house, its isolating and empty spaces for the first time filled with life and activity, echoing and mending the numerous failures and absences of the opening party scene.

Is it a gesture of memorial to a tragic death? Is it a shared gesture or a private one? However seriously we can take it after the generic lunacy that has just transpired, the gesture is a clear signal that the characters in this film are meant to have a life and a meaning beyond what we have seen on the screen, beyond the tropes and conventions of the erotic thriller.

As with the enigmatic conclusions of many of his films, here too Egoyan wants to gesture at all that we may not yet have understood about these characters, and to gesture beyond the simple narrative closure we may have been expecting. But the core of actors, for the first time, is not there even in token form. And in a film about the floundering and final endurance of a long-term professional relationship, that feels a weighted choice. Similarly, there are none of the quirky individual character actors that gave such weight to Adoration , or the signifying cameos that punctuated Where the Truth Lies.

Nevertheless, it does look like an Egoyan film, and while he may finally have severed his last link with self-referentiality in his use of actors and characters, he has certainly developed and refined a longtime interest in representing Toronto. My first feature Next of Kin was shot in Kensington Market. It was totally Toronto. These are different areas of Toronto and different sorts of feelings of Toronto.

But these last two are taking a broader view of the city and are trying to imbue it with a sense of romance. I mean Adoration is sort of a desolate and kind of grungier sort of feeling of the city. And this one is certainly more glamorous. There is a lot of Toronto in Chloe , and Egoyan makes sure we know it, as if by setting it so blatantly in Toronto he can somehow will it into being a little local indie piece and not the multiplex fodder as which it has been distributed by Reitman and Sony.

We get an extended shout-out to London, Ontario, indie band Raised by Swans as seduction ploy between Chloe and Michael. It determines the trappings of her life — the showy office and showy house — but in fact the crisis comes from the loss of past happiness rather than the realization that her life had always been empty and false. We are never led to question the solidity of her relationship with David or its past happiness; indeed, the crucial moment of the film allows the couple to break through their estrangement and reestablish an intimacy signaled by the film as genuine and enduring.

In contrast to prior, and far more troubled, Egoyan youths, Michael is well adjusted, confident, and productive it is strongly hinted that he has been somehow troubled, but beyond his estrangement from his mother, the film gives no further indication of these troubles. To be sure, Egoyan strongly hints at a less functional class milieu surrounding the Stewart family.

But these characters barely impact on our awareness, as the film is about the central quartet, and them only. Still, it is significant that Egoyan and Wilson refuse to provide Chloe with any backstory or milieu, or to draw any contrasting spaces to those in which the Stewart family moves. Egoyan has repeatedly stated in interviews that he intended his portrait of Toronto to draw out the class dynamics and divisions of the city; however, he has chosen to do so in typically elliptical fashion rather than creating a low Toronto to contrast with the high that we see.

But the refusal to contextualize could just as easily lead us to conclude that the film takes the unreal wealth and status of its characters as much for granted as they appear to do so. This was the assumption of the many reviewers who complained of its lack of credibility. The minority that discerned a critical distance from its class assumptions saw an attempt at Sirkian irony through mise-en-scene.

Egoyan has never made a perfect film — he is always trying to do too many different things at once. What is different about Chloe is that its fragmentation comes more structurally, from its mix of genres and influences, than formally, from an overabundance of thematic threads. It is a protean film, and changes radically depending on how way you approach it. Pike teaches literature and film at American University. His most recent book is Canadian Cinema since the s: At the Heart of the World.

Earlier books include Metropolis on the Styx: He is co-author of Literature: A World of Writing and co-editor of the Longman Anthology of World Literature, and has published widely on 19th- and 20th-century urban literature, culture, and film. He is currently working on the Victorian underground after the 19th century and culture and Cold War bunkers since the end of the Cold War.

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Nice ; [81] Barry Munday was picked up for distribution by Magnolia Pictures several months later. In June , it was announced that Sevigny would be starring in a leading role in M. Blash's second film The Wait , alongside Jena Malone and Luke Grimes ; it is a psychological thriller about two sisters who decide to keep their recently deceased mother in their house after receiving a phone call that she will be resurrected. The film marks Sevigny's second time working with both Blash and Malone, following 's Lying.

Filming began on June 20, , in Sisters, Oregon. Special Victims Unit on April 18, , and also landed a guest starring role in the second season of American Horror Story , which premiered in October In March , it was announced Sevigny would be returning to American Horror Story , for its fifth season Hotel , as a main cast member.

Also in , Sevigny co-starred in the horse racing drama Lean on Pete , based on the novel by Willy Vlautin. The film also features Kristen Stewart. Sevigny made her directorial debut in with the short film Kitty , which she adapted from Paul Bowle's short story. Sevigny has long been considered a fashion icon and regularly appears alternately on both best and worst-dressed lists.

While her sense of style in the early s only reflected small downtown scenes and trends, it still made a significant impression on high class fashion chains which began to emulate Sevigny's look.

Her interest in fashion and clothing, as well as her career as a fashion model in her late teenage years and early twenties, have led to a career as a prominent and well-respected fashion designer. She has expressed interest in fashion design throughout the entirety of her career, even dating back to her childhood: I would only wear calico print dresses, and I actually slept in one of those little nightcaps! In , she collaborated with Tara Subkoff for the Imitation of Christ collection in New York City, serving as creative director for the series, which was referred to as being "more about performance art and cultural theory than clothes".

In addition, she appeared in the January issue of House and Garden titled "Subversive Spirit", which featured a spread on Sevigny's Manhattan apartment.

In the fall of , Sevigny releaseda collection for the Manhattan boutique , Opening Ceremony; [] the collection included both men's, women's, and unisex pieces. Critical reception of her fashion and style has been extensively written about by both designers and fashion stylists and has generally proved favorable.

American designer Marc Jacobs wrote of Sevigny in Then there's this place called Studio Wardrobe Department where everything is like three dollars". Sevigny is a practicing Roman Catholic, though she admits that she rebelled against religion as a teenager. She said she began attending church services again after playing a Satan -worshipping teenage murderer in a Off-Broadway production of Hazelwood Junior High , claiming that she became "really disturbed" and "started having nightmares and thinking horrible things.

Sevigny has only had long-term relationships with men, though in she stated to the New York Post Gossip column: From Wikipedia, the free encyclopedia.

Actress producer director model fashion designer. I've done it in everyday life. Everybody's done it, or had it done to them. It was tough, the toughest thing I've ever done, but Vincent was very sensitized to my needs, very gentle. It was one take. It was funny and awkward—we both laughed quite a bit. And we'd been intimate in the past, so it wasn't so weird. If you're not challenging yourself and taking risks, then what's the point of being an artist?

No one in LA gets it. Her attitude is foreign to this city. She is so not Fred Segal. It is the name most commonly used by the press and other media. Retrieved October 7, The umlaut isn't on my birth certificate.

It's a little flair. Retrieved April 23, The David Letterman Show Interview. Retrieved September 19, Retrieved September 27, Retrieved August 22, Retrieved August 30, Retrieved January 27, Archived from the original on February 18, Retrieved March 2, Sevigny, 12 Feb ". Connecticut Death Index , December 9, — via Ancestry. Retrieved March 15, Retrieved April 17, State Capitol Building, Montpelier, Vermont.

FHL microfilm 2,, — via Ancestry. Retrieved April 22, Retrieved May 26, Retrieved August 9, Retrieved March 3, Arrow in the Head. Retrieved September 12, Cinema Confidential News Cinecon. Retrieved September 3, Brant Publications — via http: Retrieved March 29, Retrieved August 31, The New York Times. Retrieved August 14, Retrieved January 22, Retrieved January 8, Archived from the original on January 26, Retrieved January 7, Retrieved January 19, Retrieved November 9, Retrieved January 1, Retrieved April 14, Archived from the original on June 6, Reading, Writing and Murder".

Retrieved June 17, JoAnn Brandon v Charles B. Retrieved December 7, Foundation for National Progress. Retrieved May 25, Devastating Price of Daring to Be Different". The Los Angeles Times. Archived from the original on August 27, The Chicago Sun Times. Academy of Motion Picture Arts and Sciences. Retrieved January 9, Archived from the original on May 22, Retrieved March 22, Retrieved February 13, Retrieved February 27, Archived from the original on October 8, Retrieved September 22, Retrieved January 13, The Narcissist and His Lover".

Retrieved January 29, Retrieved March 19, Retrieved January 15, Chloe Sevigny Zodiac Interview". Retrieved February 2, Beautiful Darling official movie website. Archived from the original on June 20, Archived from the original on November 27, Retrieved February 14, Hollywood Foreign Press Association.

Archived from the original on December 15, Retrieved March 24, The San Francisco Chronicle. Archived from the original on March 28, Archived from the original on March 22, Archived from the original on June 21, The beach is completely unique to other nude beaches. This could not be further from the truth. People of all ages roam free, letting it all out or staying clothed, yet accepting each other no matter what.

In recent years, more and more young people have been visiting Zipolite. People who I at first assume would never let it all hang out quickly drop their pants and hop in the water, as if it was nothing. Still, this is a foreign concept to most. I revisited Nude Hotel on several occasions, each time having a different experience. One day there was a nude wedding, the subsequent day filling the pool with children laughing and playing, all completely clothed.

Although odd to see so many children in Nude Hotel, it was glorious; it showed a versatility in the place, and I saw no one naked that particular day, as if everyone showed a courtesy, knowing that it might not be terribly appropriate to strip down in front of the children. Thus ended another trip to Zipolite, the most liberal place I have been in my four years of gallivanting through the world. And this is the beauty of both Zipolite and Nude Hotel; everyone feels comfortable in their own skin, and knows their own beauty.

In a place where everyone is accepted, it is only natural to finally accept yourself for exactly who you are. She once hitched kilometres in six days. You can check out her blog where she delights in oversharing at Like Riding a Bicycle , follow her adventures on the website Ultimate Travel Guides , or follow her on Facebook , Instagram , and Twitter.

Log in No account? Sign up Log out news. Where on earth were we?! Fancy your own private island getaway?

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