[Joz]

Są i opinie z #theneondemon z #cannes2016 (wrzucam te najciekawsze żebyście sobie zdawali sprawę jaki poziom reprezentuje widownia w Cannes) ( ͡° ͜ʖ ͡°)

Beatrice Behn @DansLeCinema

#neondemon: absurd jerk-off lolita fantasy in a slow- motion sparkly neon dress with a side order of 90s music video aesthetics. #cannes2016

Magdalena Miedl @mmiedl

If Winding-Refn only had known that in this year's #cannes2016 competition cannibalism isn't shocking but the norm #neondemon

Dominik Kamalzadeh @Domkam

nicolas w. refn just prooved that he will never be even close to paul verhoeven. #neondemon #cannes2016

Magdalena Miedl @mmiedl

#neondemon is so tragically clueless about female desire and vanity that it's almost hilarious (if it weren't so annoying) #cannes2016

Robbie Collin @robbiereviews

The Neon Demon got exactly the reception I'm sure Refn was hoping for. Audience members literally shouting abuse at the screen #cannes2016

Isabel Stevens @IsStevens

The Neon Demon: fashion fairy tale visual horror extravaganza; deliciously fake; kinda nasty, not all in a good way #cannes2016

Thomas Abeltshauser @filmabt

#nicolaswindingrefn mysogynistic cunt or smallest dick in #cannes2016 #neondemon

Jason Gorber @filmfest_ca 45s45 seconds ago

Enthusiastic boos by ignorant for NEON DEMON - Refn's latest is silly and seductive, as austere and attractive as model subjects #cannes2016

A z bardziej merytorycznych recenzji:

THR:

The film’s main allures are its visual and aural sensations, based in Elliott Hostetter’s elaborate production design, costume designer Erin Benach’s endless parade of eye-catching creations, Natasha Braier’s lustrous cinematography, Cliff Martinez’s seductive score and Refn’s undeniable visual panache.

There have been many previous occasions when sumptuous filmmaking craft has been placed at the service of dubious and derelict material, but The Neon Demon is this year’s model.

Variety

Nicolas Winding Refn has made a baroquely kinky gross-out surrealist horror film set in the L.A. fashion world. It's not boring, but there's less to it than meets the eyeball. In case you have any doubt as to whether “The Neon Demon” is a film by the maker of “Drive” or by the maker of “Only God Forgives,” let’s be clear: It’s a film by the maker of “Only God Forgives.”

IndieWire

Refn keeps pushing to get a rise from his audience. At this stage of his career, he's not so much an eager crowdpleaser as the extreme genre world's answer to William Castle, a gross-out showman who certainly knows by now which buttons to push.

It's impossible to shake the perception of the filmmaker leering at his nubile leads from behind the camera, much as they experience with their photographer. "The Neon Demon" lingers on outrageous sexual deviance, from steamy showers following one grisly incident to a cross-cutting of lesbian desires both real and imagined, all framed with childlike glee. But even as Refn falls into the familiar trappings of the male gaze, that itself is a spirited indictment of the industry propping it up.

LittleWhiteLies

Is it simply the case that Refn can’t resist indulging his ego while administering shots of cheap titillation? It’s true he has a habit of deploying sexually-charged flash grenades that seem designed, first and foremost, to stun you into submission. It’s also true that he gets a kick out of eliciting precisely this reaction – say by having his protagonist pummel another man to mulch in the close confines of an elevator, or another crawl into the open belly of his freshly disemboweled mother. But it would be remiss to reject The Neon Demon as a work of empty provocation. Because as you start to digest the visceral images streaming forth from Refn’s subconscious onto the screen, whether you’re aroused or repulsed (and these responses are by no means mutually exclusive), there’s never the sense that he is out purely to satisfy his own impulses.

#film #filmy

[s.....a]

@Joz: Mogłeś zmienić porządek wypowiedzi. Ciężko przebrnąć przez spaczony ideologicznie bełkot.

O co chodzi z porównaniem Refna do Verhoevena?

[Joz]

@sejsmita: Verhoeven jak żaden inny reżyser z mainstreamu z ogromną łatwością eksplorował obrzydliwą, wyolbrzymiona brutalność, mieszając ją z intymnością, wręcz erotycznym podnieceniem z seksem. Najlepiej pokazuje to Nagi instynkt, który jest chyba najsłynniejszym erotycznym thrillerem na świecie. Refn zauważył to samo co Verhoeven, że emocje odpowiadające za przemoc jak i seksualność pochodzą z tego samego miejsca, lub, co jest odważniejszą tezą, są dwiema stronami tej samej monety. Porównania tych dwóch

[Schwarzenberger]

@Joz: kogo obchodzą opinie ludzi z Cannes? Od tego pana oglądałem Only God Forgives, Bronson i Drive wszystkie świetne, przymierzam się do Pushera i Valhalla Rising, także czekam też na Neon Demon

[s.....a]

@Joz: Ciekawe. Chyba nigdy nie analizowałem filmów Verhoevena pod tym kątem, ale to by się zgadzało. "Ciało i krew" to dokładnie to: przemoc i seks. Inaczej ukazane, bardziej prymitywnie czy zwierzęco, ale to poniekąd wymóg czasu akcji.
Jak mawiał Benny Hill: learning all the time. :)