Wie bestärkend und sinnlich Wäsche wirken kann, wenn man sich darin wohl fühlt. Sie macht etwas mit dir. Nachhaltige Wäsche und Bademode, von Hand mit. Amour Fou. Jessica Hausner Deutschland, Luxemburg, Österreich Berlin zur Zeit der Romantik: Der Dichter Heinrich hat den Wunsch, durch die Liebe den unausweichlichen Tod zu überwinden: seine ihm nah stehende Cousine Marie lässt sich aber partout nicht davon überzeugen, zu zweit dem übermächtigen Schicksal.
weiterempfehlenBerlin zur Zeit der Romantik: Der Dichter Heinrich hat den Wunsch, durch die Liebe den unausweichlichen Tod zu überwinden: seine ihm nah stehende Cousine Marie lässt sich aber partout nicht davon überzeugen, zu zweit dem übermächtigen Schicksal. AMOUR FOU Vienna, Wien, Austria. likes · 56 talking about this · 14 were here. fiac-online.com Amour Fou. Spielfilm / Österreich / Luxembourg / Deutschland / 91 min / Uraufführung: Un Certain Regard, International Film Festival Cannes
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Offensichtlich ist eine der Puppen LAmour Fou alten LAmour Fou Mullins wesentlich lebendiger, weil das Produkt schon einmal geffnet bzw. - Weil Sie »Amour fou« gesehen habenFounded in Luxembourg in and in Vienna inAMOUR FOU Luxembourg and AMOUR FOU Vienna, realise artistically exceptional feature, documentary and short films for the Greys Anatomy Torres market with international and, most frequently, European partners.
For the brilliant couturier, Oppenheim had done a gold metal bracelet covered on the outside with beaver fur. Why not a coffee cup, for instance?
So Oppenheim went right ahead, with cup, spoon and saucer, and the result was one of the few really sublime sexual images of the 20th century.
It compels you to imagine raising this furry cup, wet with hot fluid, to your lips; it offers no possible meaning other than cunnilingus; it is exquisitely graceful and inescapably direct, both at once, and if ever a single work was enough for one artist's career, it is Oppenheim's cup.
The romantic sexuality of surrealism expressed itself most frequently in one of its key images, the fashion dummy - not a statue, not a person, but a curiously haunting thing that carried reminiscences of high art - Giorgio de Chirico, whose piazzas and slanting shadows were haunted by these ambiguous manikins, was another of surrealism's adopted ancestors.
The use of mannequins covered a lot of territory, and a startling variety of moods. Sometimes they could be replaced by human models, particularly when some transgressive point needed to be made; the artist Oscar Dominguez installed one of these girls, passively reclining like some inordinately pretty creature who was nevertheless doomed to be rejected and thrown out, lying in a wooden wheelbarrow, which, in deference to her chic, was comfortably padded and lined with purple satin.
But this use of the live human body favoured incongruities. One was a fashion shot for Harper's Bazaar, in , by Hoyningen-Huene, which showed a slender, beautiful model posed in front of Max Ernst's The Fireside Angel.
The creature one saw looming over her was one of Ernst's most diabolic inventions - a ravening foretaste of nazism, a monster whose body is twisted into the unmistakable form of a hackenkreuz, or swastika, and not by any means or so one might have thought the sort of image that would make the magazine's readers think "couture".
It was, however, the inanimate model - its status shifted towards that of a mere doll - that contained the most sinister possibilities of debasement and disturbance.
The maestro here was Hans Bellmer, a somewhat bizarre sexual obsessive who loved mulling over themes of child rape, dismemberment, and general sexual nastiness behind the psychic woodpile.
Like Oskar Kokoschka before him, Bellmer made himself a human-sized doll. Unlike Kokoschka's rag-and-stuffing effigy of Alma Mahler, however, Belmer's doll represented not a grown-up woman but a prepubescent child.
It did not commemorate anyone in particular, at least nobody whose name we know, but it was filled with the most intense significance for him. Jointed, modular, endowed with intricately modeled, hairless genitals, Mary Jane shoes and more than the ordinary number of limbs, capable of being twisted into all manner of postures and configurations, it was literally a parent's nightmare and a sadist's dream.
Bellmer would set it up in various places, mostly threatening ones - corners of a wood, dark patches of grass. Then he would take photos of it.
The images were apt to look like police evidence shots of crime scenes: plain, frank, not arty, not cleaned up. They spoke of dislocation, torment, violation and abandonment.
This was, by the standards of the day, fairly sinister stuff, and its suggestion was far stronger than what it actually represented. Surrealism itself was divided on the issue of what relation, if any, it should have to commerce.
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Self archive footage Catherine Deneuve Self archive footage Laetitia Casta Self archive footage Lionel Gosset Self archive footage Antoine Godeau Self archive footage Rest of cast listed alphabetically: Randy Jones Genres: Documentary.
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