The condom breaks (the camera helpfully reveals Glusman’s still-tumescent member for the benefit of those upon whom the concept is lost), and a mere jump cut later, Omi is breaking the ominous news that she’s with child. More aggressively fragmented than Noe’s notorious chronology-flipping “Irreversible,” yet far calmer in terms of Steadicam-style lensing, “Love” builds to a comparable fantasy of how things might have turned out differently.īut first, it has to establish how the relationship with Electra unraveled, leaping back in time to show Murphy cheating on her with Omi. Two years have passed since Electra found the nerve to dump Murphy (whose eponymous law, emblazoned in big block letters across a red screen, dictates, “If anything can go wrong, it will”).
It is New Year’s Day in Paris, a time to re-evaluate one’s life and priorities, and a voicemail from Electra’s worried mother suggests that her daughter may have committed suicide. Strange, then, that the very next scene shows Murphy waking up beside a completely different woman, blonde-haired Omi (Klara Kristin), while his son cries in the other room. Using only their hands, the naked couple tease each other to completion in a scene we’re meant to interpret as clear evidence of their sexual compatibility. Whereas more than a century’s worth of cinematic romances have delayed onscreen couples’ chance to consummate their attraction - whether via innocent kiss on the cheek or vigorous fireside sex atop a bearskin rug - Noe defuses the suspense by opening with American film buff Murphy (Karl Glusman) and aspiring French artist Electra (Aomi Muyock) manipulating one another in bed.
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