Claire Denis's Trouble Every Day is a film that probably shouldn't have been made, but now it exists and it is out in the open ready to be watched. Sadly, most people who watch it will likely wish that they hadn't. It's a hopeless, deeply intense, and horrifically disturbing film that will leave most audiences pretty much polarized. It is a film that brings to mind the style of Michael Haneke and the aesthetic quality and themes of David Cronenberg. It's a jarring film, but quietly so. It is a film that should speak for itself above all because it's a difficult film to describe and to digest, and these words that I am using to describe the film cannot come close to doing it justice. It is like Blue Velvet in that it is impossible to predict what you are really in for when you sit down and watch it. There is no plot. There are actions. A mad doctor keeps his sick wife locked up in her room. She suffers from a deadly cannibalistic zombie disease. Another man has the same ailment and tries to control his urges for flesh while on his honeymoon in Paris. A young maid slowly and unwillingly becomes sucked into his situation. What can I say? This is a very troubling film.Trouble Every Day requires a lot of patience to sit through. It is slow paced, but very purposefully so. It is minimalistic horror at it's absolute best and most stringent. Somehow, however, it manages to convey nearly every basic emotion while allowing itself to unfold with the utmost simplicity. It's one of the messiest art films that one can come across, but justifiably so. Take, for instance, the early scenes which detail the man on a plane with his wife on their way to Paris and how haunting the scene is. They kiss tenderly and passionately and it is romantic and beautiful. He goes into the bathroom and becomes frenzied, his urges becoming stronger and more prominent and the film becomes psychological in his plight. The film prior to this scene shows a man in a field discovering a devoured corpse, the blood and gore coating the long grass. The scene is handled not as horrific, however, but more eerie and stoic in it's minimal detailing. The scenes in this film unfold in a quiet and suspenseful way that does become incredibly scary. Nothing about the film is outright scary, but the lingering tension and the intensity of the situations as a whole come off all too effective. The film just exists. When you watch it, you will feel dropped into the middle of a film. There is no beginning or end to this story. The film shows a world of desperate craving, inhuman madness, and disgusting behavior.The only problem I have with this film is it's moments in which is does try to develop the plot rather than the characters. Since there's no plot, the film's attempts to suddenly place one into the film's style come off as a complete failure. Basically the scenes I'm talking about are all the scenes in which the characters have dialogue. Vincent Gallo is a fantastic actor, but his voice is one of the most unusual voices I have ever heard. He sounds high-pitched and shrill, and it comes off incredibly bizarre given his large posterior. I don't fault his voice as being an unneeded aspect of this film, but rather the direction that his character is taken in as a fault. There should be no direction, and that's the problem with those scenes. I say the same for Beatrice Dalle's character. Thankfully her scenes come off completely monstrous and horrible, which is the way it should be. Thankfully ninety five percent of the film is about character development rather than plot development and the whole film is very haunting as a whole so it is easy to forget what is happening during these scenes and it does not become a problem, only a minor issue. I think the only people who will take more issue with this film are the people who either don't care for the subject matter or don't care for this film's style, in which case they have no reason to watch this film anyway.Many viewers will walk away not entirely sure what they just watched. Don't dismiss the film entirely though. It will grow on you soon after you have finished it. It is not the kind of film that asks for the audience's attention. It is the kind of film that simply delivers quality suspense, gore, and romance in equal measure, but develops it all to it's most intense. It is one of the most intense films I've watched, and that is saying something. I think it is films like this that really remind me that the French are making some of the most challenging horror films. Trouble Every Day is a great horror film, but it's intense subject matter and qualities makes it more for the most brave moviegoers.(For an extended version of this comment, as well as other comments like this, visit www.cuddercityfilmchronicles.blogspot.com).

On a honeymoon in Paris with his beautiful wife, an American man heads to the home of an exiled medical professional, Léo (Alex Descas), who specializes in the field that Shane (Vincent Gallo) has been involved with: The Human Libido. At Léo's home, Shane meets Léo's wife, Coré (Béatrice Dalle of 'À l'intérieur'), who is kept locked away from the world due to her carnivorous carnal tendencies. The secrets and events that follow will be the most shocking and horrifying of the young couple's lives.Hearing that this film borders on unlikable due to the subject matter, I had to pounce on the opportunity to view it. Expecting a truly shocking and disturbing French horror. . . I was not disappointed. The depth of exploration of sexuality and cannibalism (and the sexuality OF cannibalism) goes unmatched by any single film I've ever seen. While it's not a film that is particularly enjoyable, as it does reach some limits that are unusual for modern cinema of this style, it's still beautifully made and extremely fascinating. The entire cast delivers at least above-adequate performances, some better than others (include Béatrice Dalle in the 'better' category as usual). Like another recent film of Dalle's, 'Trouble Every Day'f features an extremely cringeworthy scene that sent chills up and down my spine. It's not nearly as graphic in a sense of quantity as I'd expected, but the quality of the brutality is what makes the film so effective.Final Verdict: 8/10.-AP3-

The movie unfolds nicely, but once it opens, there's not much there. Although the movie plays all its cards on the atmosphere, it still feels kind of trivial. Terrible Vincent Gallo acting doesn't help either. However, the rest of the acting is good and the pace of the movie is very adequate, slow but never painful. (Many could learn here how to make a slow movie that doesn't drag.) One of the best things in this movie is the music (by the Tindersticks); it's very good and intelligently used. The theme song is wonderful. If you want to see a more creative take on the vampirism theme or you want to see how drama can be gorier than most of the horror movies, you could find something interesting here.

Voodoo-practitioner – Afro-French male doctor's sex-toy creature allowed leaving her locked room by a hypnotised curious intruder being consumed during copulating, is overpowered by a strong American happened to drop in into a doctor's house at the timing, who had since then fallen into her footsteps of a thirst for blood and flash during orgasm.A perverted love of "Dracula" mixed with an unstoppable quest for sadist sex of "Frisk", framed with Parisian charm makes this terrific film realistic to a degree of a potential usage by anti-AIDS and pro-obscenity campaigners.Highly recommended.