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It is by taking as a starting point the fact that passionate love remains structuring as a cultural model. In this model, men and women have neither the same conception of love, nor the same behavioral or linguistic code to express it. Several theorists propose the existence of differences between the sexes in love attitudes. The interest of Gaspar Noé's film is not to say what love is but rather to reveal all its complexity and its paradoxes, which is much more realistic than giving it an overly abstract and reductive vision. Through Love, we can identify certain traits that are intended to be characteristic of the feeling of love, in particular the most complex such as the painful and destructive dimension of love, the place and meaning of even unbridled sexuality, and the paradoxes of conjugal love. If love is a source of immense energy and pleasure, it also leads the two characters on a veritable descent into hell presented as inevitable. There is something disturbing about the concept of love developed by Gaspar Noé in Love. Many people make the search for love the pursuit of their lives. In Love, Gaspar Noé paints a portrait of love that is much more contrasted than what we are used to understanding by this term, a portrait which is intended to be closest to the socio-psychological reality of the feeling of love. We realize that love rhymes more with suffering than happiness, describing a "toxic" relationship that makes the characters dependent on each other despite all the harm they do to each other. In any case, whether it is passionate love or conjugal love, love appears to be a trap for individuals.

Love, Film analysis, Gender, Modernity


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