Keep the Lights On2012
Keep the Lights On (2012)
Critic Consensus: Keep the Lights On is a mysterious, sexy journey deep into the love affair of two men that always manages to stay true to life.
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Critic Reviews for Keep the Lights On
The movie's elaborately failed closure only makes sense once you understand that the filmmaker's all-too-human desire for self-justification apparently trumped the ruthless self-control required to make a work of art.
Keep the Lights On acknowledges (without belaboring) the performative nature of identity; how each of our claims to selfhood, be it sexual, romantic, or professional, are staged on a shifting terrain of habit, fantasy, and desire.
There's a lot to like here, and if you're a traditionalist who hungers for a happy ending, you'll find it embedded in the opening credits.
Every frame pulses with hard-gained experience: it may be the most lived-in film of 2012, and certainly counts among the most moving.
Monitoring the peaks and troughs of this fractious relationship is more fascinating than enjoyable.
Audience Reviews for Keep the Lights On
Keep the Lights On is brutally honest and devastating like love can be when ruined by drug addiction and by one person's dependence on another. Full review on filmotrope. com
Mind numbingly dull.
In "Keep the Lights On," Karen(Paprika Steen) gives her brother Erik(Thure Lindhardt), a documentary filmmakerin his 30's, grief over not being able to put his life together. That's even with her not knowing about his phone sex habit which is how he hooks up with Paul(Zachary Booth) who mentions something about a girlfriend after they have sex. That does not stop them from forming a relationship that goes beyond the physical, however. Meantime, Erik's friend Claire(Julianne Nicholson) wants to have his baby while he sweats out an HIV test. "Keep the Lights On" is a quietly intense and incisive look at a turbulent relationship. As erotic as the movie is, there is one sex scene that has to be one of the most emotionally unnerving I have ever seen. That having been said, the movie has less to do with sex than with addiction and those it affects. Ironically, Erik is an anchor for Paul, otherwise clean cut with a good job compared to Erik who has never been big on responsibility. Throughout, Erik gets glimpses of other potential realities, one of which would be a huge mistake to say the least. Along these same lines, the movie's central weakness is telling it entirely from Erik's point of view which, while building suspense concerning Paul's whereabouts, limits the story in not properly giving Paul adequate definition.
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