See Le Marquis de la Croix (Offici.
See DA RIVEDERE.
See feet andtorture 07.06.2013.
See Sirwiñakuy (2010).
See Good ones.
See Barbazul Official Trailer.
See Markýz de SADE 2. díl.
See Marquis de Sade.
See feet 04.06.2013.
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Amy Hesketh's Le Marquis de la Croix impressed me on many levels. Her extraordinary, pull no punches approach to filmmaking creates stories the timid would never dare and the ordinary should never conceive. Le Marquis de la Croix captures a pure essence of the Marquis DeSade's defiant, revolutionary writings. Its challenging subtexts worked subconscious magic to remind me both of a private experience of death and the disturbingly innocent opening stage in Sam Peckinpah's The Wild Bunch where "innocent" kids gleefully torture a scorpion. Hesketh gives the reality of a single death more potent impact than a hundred cut and burn action movie deaths shown in forget-'em fast video cuts, sudden, violent, and gone. Yes, prolonged violence in the form of torture causes death in Le Marquis de la Croix, but that death is shown to be defiantly slow in coming. It forces viewers to realize that, given the chance, Life makes Death work difficult for its victory, the method I remember death coming to a mate at whose bedside I once waited. Jac Avila's chilling performance as the Marquis makes clear the imprisoned aristocrat's clinical detachment as he scientifically records his observations of the young woman's suffering. But in contrast, Avila also drives home the intimate involvement of a torturer with his victim. Mila Joya's Zinga is poignantly believable as the helpless victim whose initial hope that she can escape public execution by surviving the Marquis' personal depredations slowly fades, forcing her to reluctantly agree that death alone awaits her, an end to all her hopes and dreams, an outcome not unlike that of the doomed protagonist at the end of DeSade's Justine. Other great touch is Hesketh's selection of background music, including the ironic choice of an historical chant-song voiced by revolutionary French peasant-citizens while they executed aristocrats—as the sadistic aristocrat in her movie executes his peasant-victim. But wait! There's more! Hesketh adds a unbelievable and unexpected Twilight Territory ending that would create Rod Serling proud. In an IMDb review of Hesketh's film, Sirwiñakuy, I compared her direction to Hitchcock's, who famously appeared in cameos in his films. Hesketh does more than a mere cameo in Le Marquis de la Croix. Her performance in the framing sequences at the beginning, middle, and end makes dear Uncle Alfred's cameos pale by comparison and zaps viewers with a viewpoint revelation, casting the whole cinematic narration into an unexpected context.Then, too, there is a commentary track by Hesketh and Avila that you can activate, containing fascinating, informative, and entertaining information. I have no concept what Amy Hesketh is going to make next, but folks, if you've got any sense left at all, you'll war me for first zone in line to see!
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