Danish pioneer Jorgen Leth’s latest docu-fiction blend, “Erotic Man,” exists much in the same realm as his previous work, “The Five Obstructions” (made with his cinematic disciple Lars Von Trier). It utilizes its own mini-narrative as a jumping off point for Leth’s documentarian queries, hoping to explore the mechanics of, and the tenuous relationship between, man and his own erotic nature. Sadly, unlike ‘Obstructions,’ this latest experimental doc fails to elucidate its commentary on man’s nature, instead addressing only what is specific to Leth’s own human condition. Leth inserts himself into his works, not simply as a guiding hand or a voice, but as a part of the process. He allows his films to grow organically and evolve while he puts on his reflecting hat and waxes philosophical. And it works, usually.
With “Erotic Man,” Leth’s inspiration is an affair he had some twenty years ago, an experience that equally haunts him and contents him to this day. Unfortunately, the intimacy of his subject matter, which easily could have been a strength, prevents Leth from generating the perspective he seeks to capture. Early on in the film, Leth questions the power of eroticism, comparing the potency of the most idyllic love affair that lasts a night with that of an enduring, and long-suffering, love that lasts a lifetime. As a man, Leth knows what answer he would like to give and what answer would be expected of him, but on a more guttural level, he fears this expected answer is likely a lie.
“Erotic Man” continues from this introductory soliloquy with the professed goal of uncovering exactly what drives erotic power and to what extent it defines us as men. His plan? Film beautiful women all over the world, almost always naked, pining over a lost love (Leth’s stand-in) while reading Leth’s prepared poetic musings. Regrettably, what Leth has delivered is a film that, while perhaps not narcissistic, is nonetheless blinded by its solipsistic message. It lacks focus, is ceaselessly repetitive, and becomes little more than a pedantic outlet for Leth’s preoccupation with feminine beauty. While its clear why Leth felt compelled to make “Erotic Man,” and while the film is not without its strengths (including a perfectly melancholic score and gorgeous photography of the women), let’s just call this what it is: Leth’s personal, visual, for-his-eyes-only catharsis, more appropriately titled “Erotic Jorgen.” [C-] Luke Gorham via In Review Online