Irreversible - Gaspar Noe
After seeing this film earlier today with absolutely no prior knowledge - it is without question the most disturbing and graphically brutal thing I've ever witnessed.
The imagery will stay with me a life time and I just can't help think it was done amazingly well...
One gripe is the constant screaming that Irreversible is like Memento. The link is purely that both stories are told in reverse chronological order, nothing more.
An honest warning goes out to those brave enough - this doesnt raise the bar of film brutality - it picks it up and throws it far, far off into the distance.
The following is a review by Sean Axmaker of the
Seattle PI from its American release around March 2003 - please note it contains the storyline in detail - so if you were going to attend, come back later.
******
Gaspar Noe ("I Stand Alone") uses the cinema as an assault weapon to tell the story of a loving couple destroyed by a random rape and rage-fueled revenge, in reverse: a fever-induced nightmare reimagining of "Memento."
Opening on the aftermath of violence, Noe plunges the audience into a dungeon of an underground gay sex club to reveal the cause. The soundtrack throbs and pounds, the camera jerks and tilts and swings so violently it may cause motion sickness, and the scene burns furnace red while Vincent Cassel batters his way through the labyrinth, and then the ordeal begins
As one man bludgeons another with a fire extinguisher, pounding his skull into a soggy, bloody, messy pulp in one of the most sadistically brutal scenes of human violence ever executed on screen, Noe turns his camera into a sledgehammer. Later (or earlier, to take the strict timeline literally), a harrowing rape puts Monica Bellucci (Cassel's lover) into a bloody coma and the camera records the prolonged, graphic (though not explicit), and brutal ordeal unflinchingly.
Shot in single takes, like every scene in this visceral yet tightly controlled film, these moments sent audiences fleeing from the theater at its Cannes premiere. You have to wonder if that was his point. But Noe is no mere provocateur. As the film stair-steps back from the adrenaline-and-anger-boosted scenes of fury and destruction, the jittery, digitally enhanced camerawork calms down, the soundtrack eases up and a delicate tenderness glows from Cassel and Bellucci at play, a loving couple with nothing but hope and happiness in their imagined future.
The grace of the final images is made all the more poignant by the violence we know awaits them, and the tragedy and sadness sinks in slowly in the destruction's wake.
"Time destroys all," claims the film, but the monstrous capabilities of human evil is the real culprit here, and Noe is determined to prove that the real evil that men do is not fodder for cinematic spectacle and cinematic entertainment. Which begs the questions: Is that reason enough to put it on the screen and put an audience through the experience? And when does the grueling ordeal of anti-entertainment become a perverse spectacle of its own? I don't have an answer, but this film still refuses to leave my thoughts.
******
8 out of
10
Disturbing? Definately.
Brilliant? You decide...
Irreversible is currently screening at the
Lumiere in Melbourne.