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  • Demonlover (Unrated Director's Cut)
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Demonlover (Unrated Director's Cut)

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Editorial Reviews


Special Features

  • Making-of featurette
  • Interviews with the cast
  • Q&A with director Olivier Assayas
  • Making of the soundtrack with Sonic Youth
  • "Hellfire Club" bonus footage
  • Hidden Portal easter egg
  • Trailers

Product Details

  • Actors: Connie Nielsen, Gina Gershon, Chloë Sevigny, Charles Berling, Dominique Reymond
  • Directors: Olivier Assayas
  • Writers: Olivier Assayas
  • Producers: Andres Martin, Claude Davy, Edouard Weil, Jean Coulon, Robin O'Hara
  • Format: Anamorphic, Color, Director's Cut, Dolby, DTS Surround Sound, Special Edition, Subtitled, Widescreen, NTSC
  • Language: English (Dolby Digital 5.1 EX), English (DTS ES 6.1), French (Dolby Digital 5.1 EX), French (DTS 5.1)
  • Subtitles: English, Spanish
  • Dubbed: French
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 2
  • Rated: Unrated
  • Studio: Lions Gate
  • DVD Release Date: September 14, 2004
  • Run Time: 116 minutes
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (39 customer reviews)
  • ASIN: B00019079Y
  • Amazon Best Sellers Rank: #145,852 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Demonlover (Unrated Director's Cut)" on IMDb

Customer Reviews

That is not to say it is a bad film because its not.
Doug Anderson
With Demonlover there is no internal truth, no operating system, no soul: we are simply hung out to dry.
Ned K. Wynn
In spite of the interesting title, 'Demonlover' is not a horror film.

Most Helpful Customer Reviews

15 of 18 people found the following review helpful By A Customer on October 3, 2004
Format: DVD
Olivier Assayas creates a visually stunning film in a dark world where multinational corporations invest in anime porn with further interest to invest in 3-dimensional animated pornography. The investments in 3-D pornography attract large amounts of money as several clients seek investment opportunities. This also creates an atmosphere where corporate espionage becomes a tool to maneuver competitors as it could lead to a monopoly on the market of animated pornography. The only thing that drives the people in the business of animated pornography is the trail of money, which becomes a path of greed, violence, and murder.

The story begins on a plane flying from Japan to France where Diane de Monx (Connie Nielsen) poisons one of the executives in her company in order for a rivaling company to gain access to information in a briefcase. This leads Diane into a spiraling exploit as she is put in charge of the Japanese account that manages the business of animated pornography. When she enters the business transaction she is aware that she is being followed by an unknown source. Nonetheless, Diane takes charge of her position and advances through the world of pornography while balancing it carefully with the company and the laws of France. However, she displays no concern for people as she ruthlessly proceeds in order to further her self-interest.

In the environment of Diane's own self-interest there are other people that are also looking out for their own interests by counter-espionage. This leads Diane into a world of internet pornography and sadistic elements of interactive torture over the internet. These people are, however, much more ruthless than Diane as they have no limits to how far they are willing to go in regards to making money.
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27 of 35 people found the following review helpful By A Customer on April 24, 2004
Format: DVD
Admittedly, DEMONLOVER makes a sharp left narrative turn at the halfway point that's going to confound viewers who are intrigued by the straightforward (and extremely absorbing) high-stakes opening. But that's no reason to dismiss the many, many things that writer/director Olivier Assayas gets absolutely right. In the end, DEMONLOVER is a fascinating mirror-world reflection (as William Gibson would call it) of where our global society might be just five minutes from now: the fittest who survive will be multilingual, career-consumed and ridiculously chic, but also soulless, as if missing the gene that supplies a sense of loyalty and ethics. The movie is a cautionary, though entirely plausible, tale of humans debased by their own lust for ungoverned capitalism. Every line of dialogue is about the business merger at hand; in the rare instances where feelings are discussed, they're usually about how *work* affects those emotions. The big wink here is that the characters don't even discuss business honestly, because each has duplicitous motives.
Technically, DEMONLOVER is a feast. Denis Lenoir's widescreen photography constantly dazzles -- many of the tracking shots are sustained in close-up (creating paranoia), and the color spectrum appears as if filtered through corporate fluorescence. (The neon-drenched Tokyo sequence is particularly hypnotic.) Jump cuts keep the narrative one step ahead of the audience. Sonic Youth's atonal guitar score creates the same mutant environment that Howard Shore pulled off in CRASH. Most significantly, Connie Nielsen's face (and hair and wardrobe) mesmerizes more than any CGI I've ever seen.
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25 of 33 people found the following review helpful By Diana Faillace Von Behren TOP 1000 REVIEWERVINE VOICE on May 7, 2004
Format: DVD
This highly sensual film uses the slick Emma Peel-in-a-skintight-jumpsuit-meets-the-Matrix veneer that most people associate with high stakes business acquisitions, fast cars and corporate espionage . . . and for the first half of the movie, that is exactly what is delivered---intrigue on a multi-national and multi-million dollar level showcased in exquisitely neoned Japan, overseas business class flights and minimalist board rooms. Diane, played to perfection by Connie Nielsen is the Emma Peel of a French investment house intent on acquiring a monopoly on Japanese animated pornography. Perfectly dressed and coiffed, she epitomizes the business woman who has it all: brains, savvy and a polished understated unfluctuating demeanor that make her hard to read and hard to penetrate. We watch her intriguingly non-react as she puts a woman colleague out of commission, discovers that someone else knows what she has done, make deals with an Internet pornography competitor on the metro and all around suppresses her intrinsic sense of womanhood as she stands by and watches----no smiles apologetically----a piece of Japanese anime explicit with enough sexist content to render anyone with the vaguest sense of feminism a bad case of the hives. The fimmaker's vision of people in general in a world consumed by a consumerism so out of control that it feeds off its own negative energy, is blurred; the defining line between men and women eroded by a viciously amoral competition.

Then comes the second half of the movie where so many things seem to happen for no real reason at all.
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