Sex, sensation and nonhuman interiority in Under the Skin

摘要

Jonathan Glazer’s Under the Skin (2013) is an exercise in cinema as a sensorial machine. The film is preoccupied with the systematic capture of bodies, of flesh and light, of faces and skins, of elemental substances like fog, rain and watery rocks, smoke and snow, glass panes and thick woods, the luminous and the numinous. Like a sensory overstimulation chamber, the film presents us from its start with a surfeit of contradictory material that veer from the experimentally abstract to the verité. We watch the formation of geometric shapes that suddenly appears as the building of an eye; then the inky dark roads illuminated by a glowing trail of car lights from a motorcycle; a woman’s corpse, emitting a single tear, bluntly undressed in a blinding white light box.