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Alone with the radio in L’ amour blessé
she hangs up, the phone call adding to her defeat.
Her family has heard and she receives threatening phone calls from them. Her solitude turns into terror. Sounds are all around her, but there is no one for her to turn to. She is a model of passivity, a model of what one becomes when emptiness and frustration are constantly fed by the titillations of the yellow press.
The spectator feels a rising violence when Lefebvre confronts him with this woman and her radio. The hot-line is authentic; in Quebec, the hot-lines are enormously popular and
often abusive in tone and content. Although nothing happens on _ the screen, a lot is happening in the audience. One becomes aware that this sort of radio in itself constitutes an invasion of privacy. It has become dangerous.
When our woman finally turns off
her radio, the action is one of selfprotection. She cannot, however, turn off her neighbors, and she lives through their lovemaking as_ vicariously as she had fed on the hot-lines before.
Lefebvre makes a strong statement about our times and the effect of mass media. He is provocative and interesting. But his films are not for the uninformed, the unprepared. His audiences must be willing to participate; he will not entertain them.
An interesting footnote: the film was shot in two evenings, and the total budget was $53,000. The sound recording and editing took two months, and the Canadian Film Development Corp. participated in the post-production costs.
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