Champs-Elysées Film Festival 2022: No Sex Last Night (dirs. Sophie Calle, Greg Shephard) | Review
Sophie Calle’s experimental and therapeutic road trip, which mirrors the protagonists’ impossible relationship, was in the spotlight at the 11th Champs-Élysées Film Festival.
The Freed from Desire section of the 11th Champs-Élysées Film Festival invites audiences on a thematic journey into the 1990s, revisiting iconic and foundational works of cinematic independence centered on rebellion, freedom, and the liberating power of desire. Inspired by the spirit of a global libertarian anthem, this category highlights four groundbreaking feature films—directed by women—that interrogate gender, representation, and the complexities of love and longing. From Sophie Calle’s experimental road trip No Sex Last Night to Barbara Hammer’s revelatory documentary Nitrate Kisses, this selection, including Cheryl Dunye’s The Watermelon Woman and Jamie Babbit’s cult classic But I’m a Cheerleader, celebrates the artistic and cultural legacy of a decade that forever transformed queer and feminist filmmaking.
We were delighted to rediscover No Sex Last Night, Sophie Calle’s first and only feature film, a raw and intimate exploration of love and desire. Shot in 1992, the film follows Sophie, who dreams of crossing America, and her partner Greg, who aspires to make films. To convince him to join the journey, she proposes documenting their relationship along the way—only for their bond to unravel as the road trip progresses.
No Sex Last Night is a 1996 documentary directed by French artist Sophie Calle and American filmmaker Greg Shepard. During a road trip in a Cadillac from New York to Los Angeles, the two protagonists recount their relationship through a poignant narrative supported by a striking storytelling device. Equipped with a camera and a diary each, their personal accounts offer contrasting perspectives on their shared life and individual expectations.
AN ARTISTIC PERFORMANCE
In her work, Sophie Calle often delves into themes of intimacy, and No Sex Last Night is no exception. Every creative and narrative choice in the film serves as a deep exploration of this subject. Bold and deeply personal, the documentary publicly lays bare the inner worlds of both artists.
Through their cameras and diaries, Sophie and Greg reveal not only their perceptions of each other but also their reflections on themselves, their surroundings, and what they value. The audience becomes a voyeur, privy to their internal struggles and vulnerabilities.
Echoing the collaborative art of Marina Abramović and Ulay, Calle and Shepard turn their relationship into an artistic performance rather than a conventional cinematic work. The film’s unique structure—layering chronological footage over audio diary entries—distinguishes it as a deeply experimental piece. The visuals, often static landscapes or interactions with third parties, serve primarily as a backdrop to their spoken reflections.
At first, little is revealed about their relationship, creating a sense of mystery that fosters identification with the characters. Through its candid storytelling, the film evokes profound empathy and draws the viewer into its intimate narrative.
A RELATIONSHIP DOOMED TO FAIL
Like a Greek tragedy, the film foreshadows from the outset that Sophie and Greg’s relationship is destined to fail.
Central to their story is the car, which symbolizes both their connection and their eventual downfall. Greg’s obsessive attention to the vehicle—caring for it as though it were the most important element of the journey—underscores the emotional distance between them. Within its confines, key moments unfold: their reunion, their wedding, and even their sexless wedding night.
The car becomes a metaphor for their inevitable failure. When it breaks down and is abandoned by the roadside, the couple enjoys three fleeting months of happiness. Yet when it is repaired and returned, Sophie discovers hidden love letters Greg had written to someone else, signaling the end of their relationship.
The film reveals only fragments of the bond between the two protagonists—a past romantic connection eroded by distance and mutual neglect. Though co-created, the film feels like two separate projects, mirroring their incompatible paths as individuals.
From the beginning, the imbalance in their relationship is evident. When Sophie arrives in New York, she quickly realizes Greg has lost enthusiasm for the trip, neglecting even basic preparations like servicing the car. While she takes charge, Greg follows reluctantly, burdened by a heavy sense of apathy. His early admission—“I wish I were more in love”—foreshadows the unreciprocated affection that defines their journey.
The turning point comes when Greg agrees to Sophie’s marriage proposal. Their wedding marks a shift in both their relationship and the film’s perspective. For the first time, they appear together on screen, with the camera placed at the back of the car, transforming the audience from voyeurs to direct witnesses of their union.
A THERAPEUTIC WORK
The imbalance in their dynamic is only temporarily resolved on their wedding day; the rupture remains inevitable. In the end, the film feels like a form of couples therapy—not to save their relationship but to heal their individual wounds. This conclusion lends the documentary an added layer of poignancy and sincerity.
Would the film have taken the same shape if they had stayed together?
