Strand Releasing
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
Strand Releasing
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
- 12/1/2003
- The Hollywood Reporter - Movie News
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