I bought the movie for that scene. It is a shitty movie, buy Chloe does a great (blow) job in the movie.
- SlaverTickler
I said it before, and I can't believe I have to fucking say it again,
The Brown Bunny is an amazing movie, and no, NOT JUST BECAUSE of the blowjob scene! (although a Chloe Sevigny BJ is just plain awesome regardless of context).
Pictured: Just plain awesome.
It may be the indulgent brain child of an unstable, egocentric auteur, but that doesn't make it any less powerful. It's a pure example of the vision quest cinema of the early 1970s, where the American landscape was the wilderness for the characters to explore on journeys of self-exploration; narrative wasn't the point, it was the emotional or spiritual experience of the characters on walkabout that mattered. When I was watching TBB, I was immediately reminded of the early work of Monte Hellman & Terrence Malick, and the mid-range work of Michelangelo Antonioni. If you watch TBB along with
Two-Lane Blacktop,
Zabriske Point,
The Passenger, and (even to an extent)
Apocalypse Now, you'll see the remarkable kinship.
Now you can argue that free-form, meandering, existential films with ambiguous narratives are self-indulgent products of Vietnam-era anxieties but you can't really deny that
The Brown Bunny is a near-perfect representation of that style of filmmaking. Now it's nowhere NEAR as good as Gallo's earlier
Buffalo '66, but just like it,
The Brown Bunny is a film geek movie for film geeks partial to a certain style from a certain time period and on that note I think it's
MIGHTY DAMN GOOD.
There has been a growing trend toward really strong and uncensored scenes in mainstream films I think.
I would disagree. It seems to me that the trend is more towards greater spectacle, and so sex acts get incorporated, but usually in either comedic or grotesque manifestations. There is an even more diminished interest in using uncensored scenes in films than ever before, thanks to the marketing stigmas and internet trolling, which is why most of the people pushing the envelope are the provocateurs who have a mischievous (Lars von Trier, Vincent Gallo) or militantly auteurist (Catherine Breillat, Greg Arraki) mindset. Not many of them have the same subversive genius as Gaspar Noe, von Trier or Harmony Korine.
