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    Home»Hollywood»‘Paul’ Overview: Denis Côté’s Buoyant Documentary Introduces Us to ‘Cleansing Simp Paul’
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    ‘Paul’ Overview: Denis Côté’s Buoyant Documentary Introduces Us to ‘Cleansing Simp Paul’

    David GroveBy David GroveFebruary 18, 20255 Mins Read
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    ‘Paul’ Overview: Denis Côté’s Buoyant Documentary Introduces Us to ‘Cleansing Simp Paul’
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    Should we correctly outline a “simp”? For these (fortunate sufficient?) to not be current within the on-line areas the place that is frequent parlance, it refers to somebody who supplies extreme flattery to an object of their affection or romantic pursuit, with little or no reciprocation. Someplace extra benign on this web slang spectrum than the dreaded “incel,” a simp is actually not a risk or main nuisance to the “simp-ed,” and pity along with cautious appreciation is the everyday response from observers. Distinctive to the idea, simping is plentiful publicly in addition to inside non-public interactions: click on the replies under a cult-ish superstar’s tweet, and my, you’ll see simping.

    Margaret Qualley, Ethan Hawke, Richard Linklater, and Andrew Scott pose at the 'Blue Moon' photocall during the 75th Berlinale International Film Festival Berlin
    NOSFERATU_FP_00142_R Nicholas Hoult stars as Thomas Hutter and Bill Skarsgård as Count Orlok in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC

    Formalist competition documentary has a brand new celebrity and his username is “Cleansing Simp Paul.” Dénis Côté, the prolific auteur behind “Paul,” has spoken genuinely of his topic’s intelligence and relative self-awareness; from this, we are able to see Paul self-applying this epithet with a wink, possibly of the emoji kind. His reels, replicated in full within the meeting, specific it fairly eloquently: this can be a shy, chubby Québecois early thirtysomething whose “bit” is cleansing the homes of eclectic strangers for no reimbursement and nice self-fulfilment, all for the aim of assuaging his crippling social anxiousness. These from the peanut gallery figuring out supposed “simps” would by no means alight on this precise interpretation of the time period.

    However Côté, an influential French-Canadian fixture of the art-festival circuit, buries the lede barely in his exposition. Contemplate he ice-breaking opening couple of minutes, as Paul’s deceptively cheery method make this seem a enjoyable, eccentric novelty, a extra artisanal type of Mr. Beast-type “lol random” scroll content material. But quickly, we understand his clientele are oft-tatted up dominatrices from Montréal’s famed kink scene, and these interactions fulfill a really specific want and fetish for Paul, in an setting credited for valuing consent and the playful exploration of boundaries. To Côté and editor Terence Chotard’s credit score, it’s a seamless foregrounding of recent info, somewhat than a jarring lurch, to transition from him scrubbing a sink, to certainly one of his purchasers utilizing his torso as a footstool.

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    Côté makes documentaries the place viewers can productively probe questions of authenticity and provenance, and fiction options sometimes composed in a naked, if extremely elegant, observational model. But “Paul” matches fortunately into the broader non-fiction pressure the place a director alights on a charismatic, and sometimes decidedly offbeat particular person — which additionally makes it extra consumable to a wider viewers than his earlier work. However a gaping pothole the much less deft of those movies court docket — the imposition of condescending judgment and an invitation to mock — can also be sidestepped. Côte observes Paul unquestionably discovering a private equilibrium on this enterprise, however leaves it for ourselves to ponder the unusual triangulation of undesirable family chores, deep web tradition and BDSM.

    ‘Paul’Berlinale

    Assessing all the data the film offers us once more, a conspicuous absence is any reference to the autistic spectrum. Paul speaks candidly close to the beginning of his debilitating anxiousness, melancholy, and the resultant social isolation he suffers; certainly, the viewers are maybe being beckoned to informally diagnose him. A slither of deeper background arrives when he describes his twenties as an entire write-off, first dropping out of school, after which being ashamed to exit or work together with anybody. But past being a sex-positive movie, it’s merely and gratefully a constructive one both means: with the gamified targets Paul units himself of followers to realize, after which, weight to shed, we are able to observe an idiosyncratic, private routine of self-improvement capably functioning.

    The borders between publicity and privateness additionally clearly fascinate Côté. Paul is simply one of many hundreds of secluded and lonely younger individuals producing a “second life” within the digital realm, supplied a tabula rasa for a brand new mode of turning into (the younger man’s evident visible storytelling knowhow, from his addictive and comedian timing-strewn reels, additionally posits him as a kindred spirit to the director). But way more provocative is how this intersects with the related get together: a intercourse employee’s have to market, advertize and elegance themselves for consumption.

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    That is additionally the place the facet of Côté that revels placing flesh and racy actions on unashamed show reveals itself, though gratefully acknowledging persuasive digs in opposition to his final Berlinale premiere, “That Type of Summer time,” for the dominance of its titillated male gaze. The extra mild whipping, gimp masks, and suggestive meals play we see — and in how the significantly extra uninteresting house responsibilities is de-emphasized — we may model “Paul” as a chunk of Trojan Horse pure erotica, catered partly to the extra area of interest style of those that like it, however working as documentary and anthropological fascination for the remainder of us.

    Hovering across the prosody of “simp” is the phrase “sub” — Paul is actually a proud sub, as we progressively perceive his content material isn’t solely cheery scroll fodder, however that he’s additionally fortunately exhibiting his sexual choice as an “out” kink fanatic, shining visibility on himself and maybe others like him to come back because the 2020’s proceed on. It’s all simply so splendidly Québécois and alt-Montréal: the empowerment of letting your freak flag fly at full mast.

    Grade: B+

    “Paul” premiered on the 2025 Berlin Worldwide Movie Pageant. It’s at the moment searching for U.S. distribution.

    Need to keep updated on IndieWire’s movie critiques and significant ideas? Subscribe right here to our newly launched e-newsletter, In Overview by David Ehrlich, by which our Chief Movie Critic and Head Critiques Editor rounds up the perfect new critiques and streaming picks together with some unique musings — all solely out there to subscribers. 



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