FILM
“Curiosa” in 19th Century Paris
Film focuses heavily on sex lives, but lacks substance
BY GARY M. KRAMER
Set in late 19th century
Paris, “Curiosa” is based
on the adulterous relationship
between Marie
de Heredia (Noémie Merlant of “Portrait
of a Lady on Fire”) and Pierre
Louÿs (Niels Schneider). The two
lovers may be straight, but their affair
has queer edges — from a scene
of the couple cross-dressing to a few
lesbian encounters — as well as a
strong feminist bent. (Pierre even
wrote poems with lesbian themes.)
Marie may love Pierre, but at
the start of this stylish but empty
costume drama, she agrees to
wed Henri (Benjamin Lavernhe),
a wealthier poet. Her marriage is
dull, so the headstrong Marie arranges
to secretly meet Pierre in
his photographic studio, where she
poses nude for him before they end
up in bed together.
Director Lou Jeunet practically
fetishizes Merlant, whose naked
body is captured frequently by
Pierre’s camera. If nothing else,
“Curiosa” amplifi es the actress’
alluring eyes, her alabaster skin,
and her innate sensuality. And
this ripe piece of erotica, which features
immaculate period clothes,
undresses Merlant as often as it
can. (Her costar, Schneider also
appears fully nude, but when Marie
tries to sneak a photo of Pierre’s
penis at one point, he demurs).
Marie is certainly defying social
norms in her relationship and
her behavior. Wearing Pierre’s
clothing while tightening her corset
on him, Marie wonders what
it would be like to have a penis.
“Curiosa” takes place in France in the 19th century.
Pierre responds by suggesting a
threesome with another woman.
Marie resists, but she later has
an explicit sexual encounter with
Zohra (Camélia Jordana), Pierre’s
exotic “muse.” Zohra teaches Marie
about self- and same-sex pleasure.
When Marie later convinces Pierre
to court her sister Louise (Mathilde
Warnier), Marie and Louise
participate in an incestuous photo
session for Pierre’s camera. Marie
also publishes a scandalous book
entitled, “The Fickle Woman,” under
a male pseudonym, as was the
custom at the time.
However, “Curiosa” is far from a
biopic of these famous French poets
and writers. There is very little in
the way of details about their work
and life, as the focus here seems
to be on their sex lives. But Jeunet
presents the lovers’ provocative activities
in a very matter-of-fact way
that oddly fails to titillate. Marie’s
sex life should be exciting and enticing,
but the most passionate
scene may be a moment of subterfuge
when Marie asks Henri to fetch
a photo album so she can steal a
kiss from Pierre. As they look at
the images, the lovers’ hands dare
to entwine, outside of Henri’s fi eld
of vision. This is far more sensual
than a later scene of Henri listening
to Pierre and Marie have sex
(in slow-motion no less) through an
adjoining wall in the building that
FILM MOVEMENT
houses Pierre’s studio.
The fi lm’s soft-core sensibility is
practically soft-headed, and “Curiosa”
is surprisingly unsexy. An
early scene when Zohra performs
fellatio on Pierre’s friend, Jean
(Emilien Diard-Detouef) as Pierre
and another gentleman watch, is
risible and feels pointless. More
telling is an episode where Pierre
shows Jean his catalogue of intimate
images of all of the women he
has slept with — which he regrets.
“Curiosa” actually hits on something
important when it addresses
these ideas of shame and sexual
jealousy. When Pierre confesses to
having other mistresses, he tells
Marie it does not make him love
her less. And playing into the sexual
double standard, Pierre feels
betrayed not just by Henri marrying
Marie, but when he discovers
Marie slept with Jean. Yet Marie
insists on Pierre marrying her sister
so they can have excuses to be
AUGUST 12 - AUGUST 25, 2 20 021 | GayCityNews.com
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