Mars et Avril: Jacob Obus is a 75 year old jazz musician, collapsing into darkness and isolation. He is world famous. His instruments are completely unique, not just in look, but in function. Each is modeled after a woman’s body and he never speaks to the models. This all smacks of misogyny, objectification and womanizing, as Obus blows on, strokes, fondles, and generally makes love to those bodies each time he plays the stage.
Every instrument is special, played with various fingerings, combining woodwind, string and whatever it takes to recreate the woman’s body. Each instrument reports a sound never heard before. And still he won’t speak to any of the models.
Mars et Avril Trailer
Avril will not be turned away. She will experience all of Obus, inside and out. She turns the tables. Obus, while modeling for Avril, who is also photographer, is stripped naked and exposed. In his vulnerability, he confesses that the love he makes on stage is a ruse. He has never been with a woman, and alas we understand why he is isolated. She is moved, and they fall in love.
Avril is also having an affair with Obus’ instrument concept artist, Arthur, a much younger man. Arthur fights for Avril. He disparages his employer, and alleged friend, at every turn.
All the while, we are in communication with the world’s first Marsonaughts, who are for some reason (most likely an excuse to create pretty graphics), traveling at relativistic speeds to the planet next door. It’s fuzzy math time, as we are speaking to them live, even though they are supposed to be experiencing time dilation. Despite their training for the mission, time dilation is explained to them on camera.
The visual effects in the film are nice, and the compositing of Mars and Avril, although beautiful, is again crafted in support of the theme, without any forward movement of the plot.
Film Score: 3.4 (Out of 5)
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