Esther's life is panning out nicely. She will soon move in with her boyfriend Vincent and she seems set to get a permanent position at the public relations company where she freelances. All would be fine if Esther didn't accidentally discover a piercing curiosity about her own body.
В моей коже, En mi piel, 切肤, Pod moją skórą, A la meva pell, В моїй шкірі
France
USAR
UK18
France
UK
USA
new french extremity films about unstable women employing grotesque bodily violence and light cannibalism to unearth their most repressed, primal instincts ... yeah that’s the very specific shit i like!
some exchanges:
["you should have felt it" "i feel my leg normally now" ]
["you rip your leg open, you don't feel it. i touch you, and you jump and scratch" ]
["it's strange that you felt nothing" ] ["when i do this, can you feel it?" "no" "no?" ]
["i don't know what to say about your cutting" "say nothing"]
[ "is it my fault? don't you like your body?" ]
[(robotically) "hello! this is your wake up call!]
esther feels nothing when she is injured; she finds joy in self-injury. the world around her is anesthetizing, misogynistic, and devoid of meaning, a stultifying bourgeois haze; to feel pain, to bleed, is to be alive, and to consume one's…
This review may contain spoilers. I can handle the truth.
You know what, I'm just so happy that they worked out their issues, got married and had 2 beautiful, cannibalistic daughters. Love really is such an amazing thing!
Men Are From Mars, WOMEN ARE FROM BODY HORROR
oh my god the dinner scene, five stars
the horrors of being mentally ill ft a bit of cannibalism
Wish I could inject these split screen sequences into my veins (You either understand the desire to peel all your skin off or you don’t 🤷♀️)
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In My Skin speaks to a dark moment in time that hits close to home. The film delves into themes of depression, isolation, and self-harm in excruciating detail as it follows a woman named Esther, who is living a rather unremarkable life. She maneuvers through a committed relationship and her work life as she takes on a new position.
The film never reaches for simple answers, solutions, or character arcs. Instead, it opts for a complex and vivid depiction of self-harm. The film explores the relationship between the physical body and the soul.…
Am I the only one who finds this sexy and liberating? :(
Like, there’s something in the way de Van shoots those sequences that leave room for the flesh and blood to be uncomfortable, but also make the act of cutting oneself equally sensual to me. Like, she’s in love with the character playing with all those knives and pointed objects, but not because of some fetishistic fantasy. She let us inside her POV so much that it never feels like she’s belittling what Esther's doing, or her body for that matter.
If anything, it understands the reasons why would Esther even love this self-destructive escapist route if it means regaining agency back from standards of beauty/work/femininity imposed by colleagues…
visceral body horror paired with compulsive self annihilation. i love everything that this tackles so much and i love that it's so clear that Marina de Van put her all into this. the phantom arm scene was so good. by the end it almost comes full circle like an ouroboros.
best romance movie since nekromantik 2
Em Minha Pele era um horror que estava na minha lista há tempos, mas eu sempre adiava por conta da automutilação, que era um ponto fraco para mim. Esse é um daqueles horrores humanos que eu não conseguia encarar. Mas, aparentemente, essa barreira passou completamente ,faz uns 6 anos que todos os meus medos se tornaram banais.
O filme de Marina de Van é um mergulho perturbador e visceral no corpo e na mente de Esther, uma mulher que, após sofrer um acidente, desenvolve uma relação obsessiva com a própria carne. A mutilação começa como uma curiosidade, mas logo se transforma em uma busca doentia por controle e compreensão. O horror aqui não vem de monstros ou fantasmas, mas de…
A disturbing, harrowing look into self-mutilation. The idea of the body being detached, or rather dissociated, from the mind and the struggle to feel something, anything at all, is depicted grotesquely. I squirmed numerous times throughout. Yet even so, I found a strange form of catharsis in watching it all. It raises an intriguing question about the link between self-destruction and self-discovery, albeit in a literal nauseating and graphic way.
At times it reminded of Raw (2016), and now I am fully convinced that French women directors are at the forefront of the body horror subgenre.
