Trouble Every Day (France/Germany/Japan: Claire Denis, 2001: 101 mins)
Eyebrows were raised when the acclaimed filmmaker behind Beau Travail (1999), Claire Denis, revealed she wanted to do a cannibal love story as her next project. But the results were typically fearless and resonant: a moody, lissome exploration of desire and restraint. Trouble Every Day follows two couples: Coré (Béatrice Dalle), imprisoned by her husband (Alex Descas); and newlyweds Shane (Vincent Gallo) and June (Tricia Vessey). Coré and Shane are afflicted by the same unnamed ailment, which makes them long to munch on human flesh. – Anna Bogutskaya
Burchett, William, Brian Risselada and Josh Ryan. "Claire Denis." Syndrome and a Cinema #3 (October 17, 2011)
Chapman, Mark. "Reconceptualizing the Uncanny Vampire: Claire Denis' Trouble Every Day Bright Lights Film Journal #68 (May 2010)
Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)
Hughes, Darren and Michael Leary. "Claire Denis." Movie Mezzanine (2015)
Meek, Tom. "Women Who Prey." The Rumpus (April 18, 2014)
Mitsuda, Kristi. "Too Close for Comfort: Trouble Every Day." Reverse Shot #29 (2009)
Palmer, Tim. Brutal Intimacy: Analyzing Contemporary French Cinema. W4estport, CT: Wesleyan University Press, 2011. [Professor has a copy of the book]
Reardon, Kiva. "The ABCs of Trouble Every Day: Sex, Love and Death." Keyframe (August 19, 2014)
---. "Claire Denis and Objects of Desire." Keyframe (March 3, 2016)
Sarmiento, José. "The Strangers of Claire Denis: Her cinema speaks of the borders that divide humanity, and the people who cross them." Keyframe (March 24, 2017)
Walton, Saige. "Cinema and Sensation: French Film and the Art of Transgression by Martine Beugnet." Senses of Cinema #50 (April 2009) ["Those familiar with French director Claire Denis will be aware of the exquisite sensuality of her cinema. Whether coming together with another body in the world through the shared space and flesh of desire, or being driven apart from others by personal and sociopolitical circumstance, bodies – their gestures, bites and kisses, alternately languid or energetic movements, postures, habits and rituals – are the very “stuff” and substance of the film experience here. Given her privileging of the senses and her amenability to, as well as considered dialogue with, philosophers of the body, Denis is at the forefront of a number of contemporary directors (by no means exclusive to France, if we consider the work of figures such as Hou Hsiao-hsien, David Lynch or Wong Kar-Wai) who are generating much interest from sensually alert film scholars. Adrian Martin, for instance, identifies “the bedrock of Denis’ cinema [as] the flesh”, while Elena del Río comments that the “film body” of the cinema itself becomes a “sensation producing machine” in Denis, as if each film were “sending ripples of affect and thought across a diversity of its movements”, independent of the body of the viewer. The arresting materiality that infuses Denis forces us to look anew at sensory encounters with the cinema."]
---. "Enfolding Surfaces, Spaces and Materials: Claire Denis’ Neo-Baroque Textures of Sensation." Screening the Past (September 2013)
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