Jesper Just is crafting a subtle genre of his own, re-creating masculine stereotypes within emotionally ambiguous mises-en-scène. While innuendo, insinuation and allusion are hallmarks of his work, Just’s characters are strangers to consequences, and especially repercussions. There is no one to take responsibility for his narrative slivers. There are no protagonists and no director when the credits roll, and with no dénouements his audience can never take responsibility for their own emotions while Just holds them in suspense.
His films, teetering on the fringes of highly mannered mating rituals (The Lonely Villa, 2004) or unrequited homosexual affairs (Something to Love, 2005), never embark on storytelling. Just does not entangle his characters in explicit dramatic motives; instead he sketches thresholds of erotic indulgence, creatures that impersonate rather than perform and shadowy affiliations foregrounded by masses of loose ends.
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