This chapter discusses the treatment of intimacy in Michael Winterbottom’s Go Now (1995), The Trip (2010), Code 46 (2003), 9 Songs (2004), Butterfly Kiss (1995), and The Killer Inside Me (2010). The treatment of intimacy in Winterbottom’s films is marked by an acknowledgement of the impossibility of intimacy or, more precisely, how intimacy is structured around the impossibility of its fulfilment. Given that the treatment of intimacy in these films is frequently framed with self-reflexive formal devices, such as the juxtaposition of generically incompatible or unconventional elements, this thematic preoccupation can thus be understood as both a reflection upon and an interruption of circuits of cinematic intimacy and cinematic representations of intimacy. However, what characterises the thematics of intimacy in the films is the tenuous, provisional quality of intimacy between friends, lovers, and family members or, indeed, its absence.
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