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Review

Themes of love and sex are explored to varying degrees of success in the international compilation film Eros.

Chinese auteur Wong Kar Wai’s segment entitled “The Hand” is the highlight of the film evoking feelings similar to those of his other recent efforts such as In The Mood For Love and 2046. Gong Li is superb in the role of a woman deprived of her wealth and dignity whose initial seduction of a tailor (played by Wai-alum Chang Chen) leads to a cerebral sexual encounter years later. The film contains all of Wai’s usual flourishes: slow, meditative pacing, an atmospheric air of nostalgia, and sumptuous cinematography courtesy of long-time collaborator Christopher Doyle.

Soderbergh’s “Equilibrium” plays out like a Saturday Night Live sketch seemingly included in this collection only to provide some light comic relief. Robert Downey Jr. plays a fast-talking version of his Singing Detective character (in appearance and mannerisms at least) who is plagued by a beautiful dream woman. Alan Arkin does a great job as Downey’s multi-tasking shrink, but unfortunately his character — like the piece as a whole — feels out of place in this so-called “erotic journey” of a movie. Soderbergh demonstrates his usual flair for quirky cuts and camera movements.

Wrapping up the compilation is Antonioni’s “The Dangerous Thread of Things”, an exploration of infidelity and independence in modern Italy. Antonioni picks up the slack as far as nudity and non-metaphorical sex goes (although there’s plenty of the other type as well) in this tale of a man’s affair and its effect on the two women in his life. The simplicity of plot is countered by the characters’ deliberately unexplained motivations thereby creating an air of mystery that is both intriguing and frustrating. The short’s abrupt ending will be loved by some and loathed by others just like the majority of the director’s body of work.

Eros could have been an interesting illustration of different cultures’ perceptions of sexuality, but it ultimately feels like mere filler in the filmmakers’ production slates.

 -- Eric Bresler