
Carnivores
2018

2020
NRDirector
Gaspar Noé
Runtime
51 minutes
Average Rating
No ratings yetSynopsis
Charlotte Gainsbourg agrees to play a witch condemned to be burned at the stake in the first film directed by Béatrice Dalle. But the chaotic production, technical problems, and psychotic breakdowns gradually plunge the shoot into a chaos of pure light.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film functions as a sensory, abstract exploration of light. Because it lacks interpersonal relationships or social dynamics, there is no presence of LGBTQ+ identities.
Gender Representation
The narrative centers entirely on a female protagonist, granting her absolute agency. By removing male counterparts, the film bypasses conventional gender hierarchies and patriarchal structures.
Racial & Ethnic Diversity
Casting Sofia Boutella, an actress of Algerian descent, provides a non-Anglo-Saxon focal point. This shifts the visual standard away from the historically dominant white protagonist in experimental cinema.
Religious & Cultural Diversity
The film prioritizes subjective experience over religious dogma or structured morality. It presents a secular, existentialist view by eschewing traditional Western institutions like family or state authority.
Disability Representation
The film is a non-narrative, hallucinatory experience. There is no evidence of characters utilizing disability as a plot device or being subjected to mockery.
Strengths
Areas for Improvement
AI Analysis
Lux Æterna achieves progressive value by subverting narrative norms rather than engaging in social dialogue. It disrupts traditional cinematic standards by centering female agency and utilizing a non-white protagonist within an avant-garde framework. The film's strength lies in its ability to bypass traditional power dynamics through isolation. By removing the male gaze and patriarchal structures, it creates a space for singular female autonomy. However, the work's abstract nature limits its capacity for explicit identity politics. It focuses more on the deconstruction of cinematic form than on representing specific social or intersectional identities.

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