Tag Archives: Gaspar Noe

APOCRYPHA CANDIDATE: CLIMAX (2018)

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DIRECTED BY:

FEATURING: About two dozen dancers, all of approximately equal importance

PLOT: A modern dance troupe goes crazy when someone spikes their rehearsal party sangria with a heavy dose of LSD.

Still from Climax (2018)

WHY IT MIGHT MAKE THE LIST: Literal LSD trip movies don’t come along that often. Ones made with this much skill and care are even rarer. Climax is messy and flawed, but impossible (for us) to overlook. And Gaspar Noé is probably the only master of world cinema who regularly contributes trip reports to Erowid.

COMMENTS: Near the beginning of Climax, we watch interviews, presumably from the audition process, playing on a TV screen. Attractive young people are asked about their philosophy of life, their drug use, their greatest fear. We get to know them a little, but what might be more important are the names of the books and VHS tape boxes flanking the TV screen: Possession, “Un Chien Andalou,” Salo, Suspiria, “Inauguration of the Pleasure Dome”, Zombie. While none of these (except perhaps Suspiria) have much real thematic relationship to Climax, Gaspar Noé’s roll call of influences at least puts the well-traveled weirdophile on notice that they’ve bought the right ticket.

The movie is not one long, unrelieved freakout; it does build to a, well, Climax. After those preliminary interviews and some preliminary structural foolishness (the end titles play first, and the opening credits are delivered in the middle of the film), we start with a long, energetic, contortionist techno dance number, a real wower for fans of intricate choreography. (It must have been quite a challenge for the casting director to find top-notch professional dancers who were also capable of overacting to Noé’s demanding specifications). After they’re done rehearsing, the troupe choose to unwind by… dancing, but now lubricated by a punchbowl of sangria. At this point several of the dancers break off into pairs and we watch a series of conversations that further introduce us to the sprawling cast of characters. While everyone is bisexual and can think of few topics of conversation besides who wants to screw whom, it’s remarkable how efficiently this dialogue establishes a recognizable look and narrative hook for each of the dancers so that we seldom accidentally confuse them when the trip proper begins. It’s character differentiation more than character development, but it works very precisely in this context. Next up is another long dance scene, this one shot from above, as the dancers form a circle and each takes his or her turn freestyling in the center of the mob. After this diversion the party breaks apart and people start to notice that they’re feeling weird, leading them to wonder just what was in the sangria. When one dazed dancer suddenly starts urinating on the floor, they realize they’ve definitely been dosed, and paranoia starts to rise as the mob throw accusations at first one suspect, then another.

After the LSD kicks in the film adopts a Slacker strategy, with the camera following a single dancer around, watching the mini-drama as he or she copes with the situation, then peeling off to follow another. Sexual jealousies and suppressed perversions are, naturally, the main demons that the tripping hoofers battle, but there are also violent beatings, suicidal impulses, and a child wandering around the premises to be dealt with. Some simply succumb to the terror of being on an unknown, but high, dose of an intense psychotropic drug with no preparation. Each dancer gets a chance to freak out, with some spotlight solos. At the movie’s peak—which perhaps goes on uncomfortably long—everything is light in a hellish red with upside down and spinning cameras, as the party dissolves into an indistinct orgy of sex and violence. The denouement is grim, but we do actually find out who was responsible for all the carnage.

What does it all mean? The author offers us a couple of pretentious epigrams. “Love is a collective impossibility.” “Death is an extraordinary experience.” Not really helpful. More than anything, the drug trip is a convenient excuse for Noé to indulge in melodramatics that would otherwise be implausible. His characters howl, writhe, and piss themselves in animalistic degradation. It’s equally an excuse for him to indulge his melodramatic style. Is Climax a satire? Perhaps, since everyone is ultimately so unlikable, but if so it is a very dry and unfunny one. Is it a metaphor for our chaotic, backbiting modern times? Maybe. France is described as hell (specifically by the minority members of the troupe), and yet the titles announce (ironically?) that Climax is “a French film and proud of it.” I don’t think Noé commits himself to any particular interpretation; he’s simply interested in choreographing as much misanthropic excess as possible. With Climax, I’m more convinced than ever that Gaspar Noé has no idea what he wants to say with his art—but is nevertheless supremely confident about how he wants to say it.

WHAT THE CRITICS SAY:

“… the nuttiest, trippiest dance party you’ll ever attend.”–Brian Truitt, USA Today (contemporaneous)

READER RECOMMENDATION: LOVE (2015)

Reader recommendation by Careina Marcos

DIRECTED BY: Gaspar Noé

FEATURING: Aomi Muyock, Karl Glusman, Klara Kristin

PLOT: A couple from Paris who are intensively driven in sexual and emotional desire which leads them into inviting a pretty girl next door in fulfilling their fantasy.

Still from Love (2015)

WHY IT SHOULD MAKE THE LIST: DUDE, IT’S DIRECTED BY GASPAR NOÉ. You’ll know it if you’ve seen Enter the Void.

COMMENTS: The movie starts with a narration of an American man. At first, I thought it was a sequel to Enter The Void. I thought that the man behind the voice was the reincarnation of Oscar. You’ll also see The Love Hotel in Murphy’s room, which would probably make you think the same. Murphy, the man behind the voice, is madly in love with this French girl, Electra. They believe that they are the best couple ever. Then the fear of every couple comes: cheating. One night, after making love while smoking a joint, Murphy asks Electra about her fantasy. His fantasy, as any man’s, it is to have sex with another woman. Electra agrees with Murphy’s taste in fantasy, which is a blonde girl. One day, they see this blonde chick who just moved in around their building. The couple invite her to eat and one thing led to another. They find themselves doing each other. Electra is very gentle and passionate about her. As time passes, when Electra has to leave town, Murphy itches to touch the young chick once again, until he gets her pregnant. The struggle of this couple to get back on track is the most destructive thing ever. He supports the kid and the blond chick. They live in his apartment. Murphy’s guilt eats him inside, leaving him to take opium that Electra gives him, as it makes him feel like he’s with Electra once again. This movie is filled with drugs, sex, and regrets.

WHAT THE CRITICS SAY:

“…you’ve gotta hand it to Noe for leaving no taboo unturned, and for putting so much of himself into a film that’s bound to leave titillation seekers resenting its creator during the long stretches of wallowing introspection between climaxes.”–Peter Debruge, Variety (contemporaneous)

81. ENTER THE VOID (2009)

“Q: How would you define the film’s genre?
A: Psychedelic Melodrama.”–Gaspar Noé, Enter the Void Cannes pressbook

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DIRECTED BY: Gaspar Noé

FEATURING: Nathaniel Brown, Paz de la Huerta

PLOT: Oscar is a drug-dealer living in Tokyo with his stripper sister.  One day he is shot and killed during a deal inside a bar called “The Void.”  He spends the rest of the movie as a silent ghost, floating around Tokyo and observing his sister and friends, while simultaneously hallucinating and remembering the details of his life.

Still from Enter the Void

BACKGROUND:

  • Noé wrote preliminary scripts for Enter the Void as early as 1994; the screenplay was consider to expensive to produce until the director’s 2002 success with Irréversible made it appear commercially viable.
  • Star Nathaniel Brown, a non-actor, was chosen because of his physical resemblance to lead Paz de la Huerta and because he was interested in directing.  As someone with no acting ambitions, Noé presumed Brown would not be upset by the fact that his face is only seen once in the film, briefly in a mirror.
  • Visual perfectionist Marc Caro supervised the set designs.
  • The 100 page script indicated the action and described the visual effects, but very little dialogue was scripted; the actors improvised most of their lines.
  • The paintings Alex is shown working on in the film were actually painted by Luis Felipe Noé, the director’s father.
  • The original run time of the film at its Cannes debut was 163 minutes.  Post production and editing continued after this debut, and, as completed in 2010, the final run time of the film (which premiered at the Sundance Film Festival in January, 2010) as screened in the U.S. is about 140 minutes.  There is a longer version of the film, however, including a 17 minute sequence where Oscar believes he has woken up in the morgue; this segment occupies reel 7 of 9 reels, and for American screenings the film was simply shown with reel 7 omitted.  The extended cut is available on French DVD releases.
  • Noe instructed theaters that the film should be run at 25 frames per second rather than the usual 24 frames (this fact accounts for some of the discrepancies in listed running times).
  • At the Cannes premier there were no opening or closing credits.  The film began on a closeup of the none sign reading “enter” and ended with the words “the void.”
  • Noé got the idea for the film form watching Robert Montgomery’s noir The Lady in the Lake while on a magic mushroom trip.  Like Enter the Void, Lady in the Lake is filmed entirely from a first-person point of view (actually, in Void the POV is usually from about a foot behind Oscar’s head, though at other times we see events through his eyes).
  • Tokyo was chosen as the location of the film partly because Japan’s strong ant-drug laws would make the actions of the police more believable, partly because Noé believed the city, with its abundance of neon, had a “druggy mood.”
  • Pioneering acid guru Timothy Leary used to read “The Tibetan Book of the Dead” to voyagers undergoing LSD trips in an attempt to steer the experience in a spiritual direction.

INDELIBLE IMAGE: The opening DMT trip, with it’s multicolored mandalas, floating planetoids, and neon tentacles seems hard to top, but it merely sets the mood.  It’s the pornographic “Love Hotel” scene, with its parade of rutting couples with mystically glowing genitalia, that really impresses itself on the mind’s eye.

WHAT MAKES IT WEIRD: As the most impressive and eye-splintering acid trip movie of the decade (by a wide margin), Enter the Void gets an automatic pass onto the List of the 366 Best Weird Movies of All Time. The fact that the protagonist is dead throughout most of the movie doesn’t hurt its chances one bit.  But the clincher, the sure sign that the movie is weird, is the walkouts.  Less than halfway through the screening I saw, the sexagenarian couple who had stumbled into the film by accident (probably thanks to ad copy suggesting the movie was a sentimental ghost story about brotherly love that transcends death) walked out of the theater, leaving me alone with two same-sex couples with facial piercings and hair that glowed in the dark.


Original trailer for Enter the Void

COMMENTSEnter the Void is an exploitation piece masquerading as an art installation, Continue reading 81. ENTER THE VOID (2009)

LIST CANDIDATE: ENTER THE VOID (2009)

Enter the Void has been promoted to the List of the 366 Best Weird Movies ever made. This page is left up for archival purposes. Please view the full review for comments and expanded coverage!

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DIRECTED BY: Gaspar Noé

FEATURING: Paz de la Huerta, Nathaniel Brown

PLOT: A small-time drug dealer in Tokyo is shot, and spends the rest of the movie as a

Still from Enter the Void (2009)

hallucinating ghost, floating about the city watching over his drug buddies and his grieving stripper sister.

WHY IT SHOULD MAKE THE LIST: As the most impressive and eye-splintering acid trip movie of the decade (by a wide margin), Enter the Void gets automatic consideration for the List of the 366 Best Weird Movies.  The fact that the protagonist is dead throughout most of the movie doesn’t hurt its chances one bit.  But the clincher, the sure sign that your movie might be weird, is the fact that less than halfway through the screening the sexagenarian couple walked out of the theater, leaving me alone with two same-sex couples with facial piercings and hair that glowed in the dark.  The Region 1 DVD drops January 25, 2011, at which time Enter the Void will become eligible for the List and get an immediate second look.

COMMENTS: Enter the Void is an exploitation piece masquerading as an art installation, eye-candy masquerading as mind-candy; it has all the reckless visionary enthusiasm and delightful pretension of a Ken Russell picture.  With the opening credits—a series of garish, frequently unreadable stills sprayed at the screen like pop bullets from a machine gun projector, set to a pounding techno score—Gaspar Noé warns us to prepare ourselves to see something different, though we have no idea what.  (The original festival screenings did not include any credits, beginning immediately with the closeup of the neon sign reading “Enter”).  After quickly introducing the main characters, drug-dealing Oscar (from whose POV the entire film is shot) and his stripper sister Linda, the movie segues into a wordless five minute DMT trip, an abstract rainbow odyssey of swirling, melting mandalas and gently waving tentacles.  Oscar emerges from his drug reverie, still fuzzy-eyed, and the film ever so briefly enters the realm of straightforward narrative as he strolls with a buddy through the neon streets of  Tokyo towards a fatal rendezvous.  Shot to death in a men’s room, the vast bulk of the movie involves Oscar’s passive postmortem adventures, as he floats around the city observing his former friends in the expatriate community, and especially spying on his beloved sister—including, creepily, watching her real time sexual encounters in the back Continue reading LIST CANDIDATE: ENTER THE VOID (2009)