Bare Romance

Bare Romance
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Bare Romance

Una donna attende l’arrivo di un uomo. Non sanno nulla uno altro. L’unica cosa che li accomuna è il fatto di doversi incontrare e usarsi l’un l’altro. In una casa vuota nel mezzo del bosco essi devono confrontarsi con la loro personale ricerca dell’amore. Devono far fronte alla loro ambivalente sessualità. Il film è ridotto all’essenziale, ci mostra un’estetica minimale e cruda, in modo ribelle ma amorevole, del corpo.



trailer: Bare Romance



Scattered images and textured sounds collage ‘Bare Romance’ into a Tarkovsky stylised realism. Its a bold short film, paced carefully and beautifully shot with an intention to really place the viewer into the filmic space it captures.
It features a rare cinematic beauty among short films – the wise decision to tell the story through what it shows you and for how long, instead of simply firing away quick edits of narrative based dialogue sequences.
I look forward to seeing what writer/director Karel Tuytschaever will go on to make, and hope it will be a feature in this wonderful experimental taste. Perhaps we will be lucky enough to see another ‘Le Quattro Volte’ or ‘In The City of Sylvia’ styled film reach our screens at last.
Ben Rider, independent filmmaker & judge for The Monthly Film Festival (IMDB)


Karel imposed a number of rules on himself. These limitations brought him focus and freedom at the same time, and in this setting Bare romance was established.

1. I will never tell my actors what they have to do, just what they have to be.

2. I will never rehearse too much. If the first time is good, I will always keep the first, even if it is the contrary of what I wanted or expected.

3. I will choose only one subject per scene, so I cannot escape from focusing.

4. In what I do, I never think about good or bad. The only bad thing you can do as an artist, is being untruthful.

5. I do not want to make a realistic film. I want to make a film that is truthful. Cinema never films reality, it films only the director’s thoughts, vision or (particular) way of looking at things. People do not always realize that. They think that in cinema an image is an image, but that is not the case.

6. I have not the intention to create a new way of making cinema. I’m making it for myself. I want to go beyond anything I have done before.

7. The power shift in a physical relationship will be the subject of the film in the pure sense. More than showing the physical love.

8. The depth of a character is the depth of its sincerity.

9. I take sexuality as a subject, not as an object.

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