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Pensées et visions d'une tête coupée (1991)
The 1991 French film Pensées et visions dune tête coupée (Thoughts and Visions of a Decapitated Head) is a surrealist exploration of the human psyche. Directed by Jean-Luc Godard, the film follows the story of a young woman, played by Juliette Binoche, who is struggling to make sense of her life and her place in the world.
The film is filled with dreamlike sequences and surreal imagery, and it also contains several sexually charged moments. One of the most memorable is a scene in which Binoche’s character is seen in a bathtub, surrounded by candles and a white sheet. As she lies in the tub, she is visited by a mysterious figure who begins to caress her body. This scene is both sensual and disturbing, and it serves as a metaphor for the protagonist’s inner turmoil.
Another sexually charged moment in the film occurs when Binoche’s character is seen in a bed with a man. The man is seen caressing her body and whispering in her ear, and the scene is both intimate and unsettling. This scene serves as a metaphor for the protagonist’s struggle to find her place in the world and her search for meaning in her life.
The film also contains several other sexually charged moments, including a scene in which Binoche’s character is seen in a dreamlike state, surrounded by a group of men who are all caressing her body. This scene serves as a metaphor for the protagonist’s inner struggle and her search for identity.
Overall, Pensées et visions dune tête coupée is a surreal exploration of the human psyche, and it contains several sexually charged moments. These moments serve as metaphors for the protagonist’s inner struggle and her search for meaning in her life.
The director intersperses new film footage with views of another body of work that, like his own, was criticized for its unusual scenes of nudity, sex, violence, and gore: the paintings and sculptures of 19th Century artist Antoine Wiertz. Scenes of that sort, with narration, comprise almost the entire movie. The many scenes of nudity (and one of sex) described below are often intercut with scenes of violence and gore.
Live scenes: The strongest is two quick shots of sex in the style of porn: a man thrusting behind a kneeling woman, with moaning and groaning, her breasts visible and flopping, each shot seen for a couple of seconds; this is intercut with the brutal killing of a hog.
Several longer-lasting scenes, not apparently sexual: A woman lays next to the bled-out hog, her butt visible. A woman stands next to a mounted medical skeleton, breasts visible. A sleeping woman, breasts visible, rocks her head back and forth for a while.
Paintings: In scenes varying from classically pastoral to modernly horrific, many people are shown unclothed. This ranges from topless men and women to full rear male nudity to full frontal female nudity, however, the genital areas are consistently without detail. Most pictures are of adults, generally alone or in small numbers, for example, a witch on a broom, bare butt visible. One shows a harem of women relaxing. Almost none are sexual; there is one painting of two nude women caressing one another. One picture shows a lake covered with scores of unclothed infants and children, another painting shows cherubs; neither has graphic details.
Live scenes: In several separate, non-sexual, scenes the camera slowly scans up the height of a nude, perhaps 10-year-old girl, who variously removes a heart-shaped brooch from a corpse, carries a piglet (intercut with scenes of a modern urban riot), and carries a snake; full frontal nudity in total. In a later scene she is seen unclothed from the rear, carrying the snake as she walks with (clothed) guests on a guided tour of Wiertz's museum.
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