‘Double Lover’ offers double whammy of sex positivity, problematic attitudes

François Ozon’s “Double Lover” ultimately fails to clear at an integral bar of cinematic passability: On-screen sexual consent.
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François Ozon’s “Double Lover” ultimately fails to clear at an integral bar of cinematic passability: On-screen sexual consent.
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Only Paul Verhoeven could create a film that opens on a black screen to the unforgiving sound of vehement sex and cuts sharply at the loud orgasmic conclusion of the encounter to the resolute stare of a fluffy, green-eyed cat. This starts off Verhoeven’s hallmark flash and bold cinematic structure,
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At first look, the enormous black and white photograph appears to capture a snapshot of a dreamy yet natural landscape. Towering gray mountains stand in a thick layer of fog and harbor white, flowy waterfalls. A closer inspection reveals that this is no ordinary photograph, but a detailed work of
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I’m not sure feminism’s newfound popularity is a step back for the movement, but I do think that such a wide breadth of identification with feminism makes an already commonly misunderstood movement even more complicated, misunderstood and ineffective.
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