A man who traded in his artistic ambitions for commercial success now finds himself at a personal and professional impasse in this drama. Jacques (Jean-Pierre Leaud) is a filmmaker who in the 1970s directed a number of top-grossing porno movies; more than two decades later, Jacques's struggles to get out of adult movies into something more satisfying have not borne fruit, and his efforts to make porn films that are more sensual and less obvious don't go over well with his producers. Jacques
would just as soon get out of the business and complete a more personal project he was forced to abandon in the mid-'80s, but directing porn is the only work he can find that pays enough to put a dent in the debts he's racked up, as well as those of his wife Jeanne (Dominique Blanc). As Jacques tries to decide what to do with his career, he gets a surprise telephone call from his son Joseph (Jeremie Renier); Joseph turned his back on his father years ago when he found out what he did for a living, but the boy, now a college student and a political activist, has decided it's time to reconnect with his dad. Le Pornographe features Jean-Pierre Leaud's character directing two real-life French porn stars, Ovidie and Titof, in an explicit sex scene for one of Jacques' films. ~ Mark Deming, Rovi
The Pornographer does to its theme precisely what pornography does to sex -- it isolates specific parts while ignoring the bigger picture and the larger meaning.
The scenes in which the porno films are being made stand out, but with a 108 minute sit and an awkward narrative it isn't even salvaged by calling it French cinema.
not just a study of how porn has degenerated from adult-oriented love stories to rank perversion, it's also a film about how the movies themselves have changed
I spent the first 30 minutes or so genuinely unsure about whether this film thought itself funny, willing it to favour knowing self-mockery, disappointed but not surprised when it plumped for high pretentiousness.
The theme of silent passivity runs throughout the film, so Bonello must have wanted to make some kind of statement with it. The effect is merely alienating.
The film seems to be intent on the subversion of what most people consider obscene or shocking. By all means, if you are most people, have a look. All others should catch a nap.
An aged pornographer returns to the industry after a twenty-year hiatus while he attempts to reconnect with this estranged son and breaks up with his wife.Jean-Pierre Leaud is either a good character actor or has simply not aged well. The once handsomely intense Antonin Doinel is now he-of-the-chiseled-face with a
French moroseness that makes him sad to watch. Most of this is appropriate for the character, but within the film, which wanders and suffers from too much melancholy, he merely depresses us further. The overall theme of the film may be either a condemnation of passivity or a statement about the direction of cinema over the last twenty or so years. Both themes have their problems and are inconsistently carried on. For example, Jacques does little to prevent his artistic porn film from being sullied by his producer, and his son's form of protest is silence. But both get no rewards when they break the bonds of passivity. So ... I don't get it. If the theme then is about the movie industry, then does Bonello really think that substance was really reigning supreme in the days before Katie Morgan? And if he's not focusing on porn in particular, then does he really think that substance reigned supreme when filmmakers were shooting The Swarm? Or any of the monster films of the fifties?You could say that this is simply a character study, but Bonello is clearly opening doors trying to get us to think about certain themes. He just fails to carry anything through with any consistency or clarity.
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