Stereoscopic cinema has never had an opportunity to mature, because all the fads that have ever brought it into the market have been so short-lived when it periodically (re-)emerges, it can only function, like any novel cinematic technology, as an attraction-a show, a ride, a spectacle. He said at the filmвЂ™s Cannes press conference that he wanted to try out 3D because it was like a new game for him to play and that it is a вЂњchildishвЂќ medium, and in some sense heвЂ™s right. LoveвЂ™s employment of stereoscopy, then, is curious in that NoГ© has essentially appropriated the technology without any apparent ambitions of subverting or pushing against its usual functions. But save for a couple of quasi-psychedelic interludes that appear to be paying 3D homage to Jordan Belson and Anthony McCall, Love plays it pretty straight for better and worse, La rГ©gion sexuelle this decidedly is not.

All of the shots are conjoined by brief seconds of black, as if to suggest a long blink or a momentary lapse in consciousness, Г la Enter the Void (2009). A number of shots are filmed from overhead, looking down at the characters in the cramped, usually sunless interiors, and occasionally these compositions are framed-usually during the lovemaking scenes-so that their bodies are coming in from the top of the frame rather than the bottom, creating a slight disorientation with respect to gravity. The single dominant aesthetic gesture in this film composed almost entirely of static, medium two-shots (apparently weary of inducing 3D headaches, NoГ© was interested in little other than pleasure here) is its use of stereoscopic photography.

Having spent his career investigating manвЂ™s most primal and animalistic instincts, in Love NoГ© aims to grapple with the often contradictory correlation between the wild and woolly libido and that perhaps more conservative urge to settle into a monogamous family unit, both steered more or less by that crazy little thing called love. Love is, said and done, a 3D pornographic film running 135 minutes, with at least half of that running time spent watching a trio of young, conventionally attractive individuals (who either are or should be non-actors) having unsimulated sex. To watch one of NoГ©вЂ™s movies is to have been made hyper-aware of cinemaвЂ™s faculties for manipulating our perception of time via components that lie outside of plot progression, character arcs, and acting abilities.ДЄll of which is to say that if weвЂ™re going to pick on NoГ©вЂ™s new movie, letвЂ™s at least do it in terms that are relevant to what itвЂ™s actually trying to do. Rather, it manoeuvres through its arena of texture, light, and bodies-as NoГ©вЂ™s cinema so often does-according to jagged, up-and-across movements, starting and pausing its plot in a manner more characteristic of lower (pornographic) or higher (avant-garde) cinematic traditions, allowing the erotics, spectacles, or poetics to suspend our attention in bodily experiences. But the way that Love works with time isnвЂ™t horizontal as in traditional narrative cinema linear, cause-and-effect relations are hardly its chief concern.

By this I donвЂ™t mean there isnвЂ™t a plot there is, and itвЂ™s indeed a very NoГ©-esque one, backtracking through a relationshipвЂ™s trajectory in order to rediscover a blissful origin. Then again, Love isnвЂ™t really aspiring to narrative-movie objectives. ItвЂ™s been both amusing and disheartening to watch fellow critics lash out against Argentine-born вЂњFrench extremistвЂќ Gaspar NoГ©вЂ™s new movie, a 3D porno un-ironically titled Love, for failing to achieve such вЂњgood movieвЂќ goals as вЂњacting excellence,вЂќ вЂњbelievable chemistry,вЂќ or вЂњnaturalistic dialogue.вЂќ Admittedly, LoveвЂ™s execution of these basic tenets of narrative filmmaking is shoddy in comparison to other recent attempts to introduce frank sexuality into upper-middlebrow markets, such as Nymphomaniac (2013) and LвЂ™inconnu du lac (2013). Originally published in Cinema Scope 63 (Summer 2015).

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