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гаспар ноэ: режиссер твоих кошмаров — Transcript

by jpegviolence · 3,493 words · 544 segments · language en · Watch on YouTube

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0:00The year 2002. The Cannes Film Festival
0:02. People walk out of a film screening
0:05in horror.
0:13It was the film Irreversible, by the
0:15then-unknown French director Gaspar
0:16Noé. That year, European film buffs
0:19weren't ready for a 10-minute,
0:21single-take scene of Monica Bellucci
0:23being raped on screen. Everyone had the
0:25same logical question: why the hell
0:27would you film that? Is it provocation
0:28for the sake of provocation, or is this
0:30bald, cunning man trying to tell us
0:32something through such extreme measures
0:33? And what if it's both? Alright, let's
0:51start by understanding who we're
0:53actually dealing with. Gaspar Noé is a
0:55prominent representative of so-called
0:57French transgressive cinema. This term
0:59describes films that explore a human or
1:01societal crisis by realistically
1:02depicting sex, violence,
1:04self-destruction, and other things that
1:06YouTube doesn't like. The plot of his
1:07films can be described in literally one
1:09sentence without missing much. Look.
1:11Irreversible is the story of a guy who
1:13goes to avenge the rape of his
1:15girlfriend. And it's all shot in
1:16reverse order. In Enter the Void, the
1:18police kill a young junkie, and his
1:20spirit begins to wander through neon
1:21Tokyo. I refuse to describe what
1:23happens after that. In Climax, someone
1:25spikes the dancers 'sangria with LSD at
1:27a party, and all hell breaks loose. And
1:29so on. You get the gist. And even
1:31though they are incredibly simple, damn
1:33, are they stylishly shot. The first
1:39thing that caught my eye when watching
1:41Noé's films is their visuals. And
1:42there is plenty here for the eye to
1:44catch. The camera is constantly either
1:45following someone or flying around. The
1:46colors change as if it were your little
1:48sister's coloring book. And there are
1:50always huge titles too. Always written
1:52in the Futura font. So, from the
1:53outside, it looks like some kind of
1:55colorful, acid-trip music video. But
1:56reducing it all simply to drug use
1:58would be completely wrong, even if Noé
2:00is a junkie. Noé's cinematography is
2:02dominated by a tracking camera. It
2:03mimics the characters' movement and
2:05constantly follows them. If they stand,
2:07the camera stands. If they walk
2:08somewhere, the camera follows them. If
2:10a character is shaking wildly, well,
2:12you see for yourself. In short, all
2:14this works to pull us into the
2:15experience. It's as if we ourselves are
2:17in the scene, observing everything from
2:18the sidelines. But while this technique
2:20is far from new or original, the
2:22dizzying camera flights are definitely
2:24his signature. In this case, the camera
2:26movement can reflect madness, show the
2:27flight of the soul, its transition
2:29between spaces, and literally turn the
2:31characters 'world upside down. But
2:33ultimately, Noé's calling card is his
2:35use of color. Over the years of
2:36tormenting audiences, he has developed
2:38a unique design code. So, each color
2:40for him means something specific. Red
2:42is associated with aggression, danger,
2:44and chaos. We see it in the subway
2:45underpass, which triggers PTSD in*
2:47Irréversible*. In the club where
2:48someone is about to get their skull
2:50cracked on the dance floor, in sangria,
2:51and many other places. Noé's red is a
2:53visual trigger that either warns you
2:55that something's about to happen, or
2:57that, well, it already has. Yellow in
3:00Noé's films exists, to some extent, by
3:02default. It can fill any space the
3:04characters are in, be it dark streets,
3:06apartments, or corridors. Usually,
3:08yellow is about warmth and comfort, but
3:10with Noé, it's dim and evokes no sense
3:11of comfort at all. Under yellow lamps,
3:13all other colors are distorted, and
3:15what happens on screen starts to feel
3:17somewhat sickly. And, of course, calmer
3:19colors like green are far less common
3:21in his films. Green sometimes marks
3:23safe zones where a shred of sanity
3:25still remains. For instance, on the
3:27lawn where Monica Bellucci is hanging
3:29out, unaware of what the bald pervert
3:30is about to do to her. Sometimes it’s
3:32not even the color itself that matters,
3:33but its saturation. Thanks to this,
3:35it’s quite easy to trace the line
3:36between chaos and normalcy. In*Enter
3:38the Void*, the characters are immersed
3:39in a world of clubs, sex, and drugs, so
3:41the action takes place at night, and
3:43natural light is replaced by garish,
3:44flamboyant neon. The protagonist's
3:46childhood memories, by contrast, are
3:48desaturated and shot in natural light.
3:50In*Love*, vivid memories of past love
3:52overshadow the dull reality where the
3:53protagonist lives with a girl he
3:55doesn't love. The walls of his
3:57apartment are painted in safe whites
3:59and greens, symbolizing a peaceful
4:00family life. But he finds it nauseating
4:02. In short, I could ramble on about
4:04lighting in Gaspar's work for a long
4:05time, but I think you get the point. He
4:07loves color, and he loves there to be a
4:09lot of it. And he absolutely adores
4:10strobe lights, just to finish off any
4:12survivors in the theater. But I, on the
4:13other hand, love it when you, the
4:15viewers, like my videos. I don't get
4:16any financial gain from them. So, if
4:17you wouldn't mind, there are links in
4:19the description where you can support
4:21me. Anyway, sorry, I won't distract you
4:22anymore. Noé loves giant, full-screen
4:24letters just as much. The title
4:26sequences in his films are truly a
4:27separate art form, really. He loves to
4:28show off and design his credits to
4:30match the concept of the film. In*
4:31Irréversible*, which is shot in
4:33reverse chronological order, the titles
4:35, of course, scroll at the beginning
4:36and in reverse, and then their movement
4:38is even picked up by the camera. *Enter
4:40the Void*, where young dudes do drugs
4:42in neon-lit Tokyo, opens accordingly.
4:44It’s probably one of the most iconic
4:46openers I've ever seen in cinema in
4:47principle. The cool thing is that they
4:49didn’t just throw a bunch of random
4:50fonts together; they styled each cast
4:52member individually to fit their
4:54personality. Not everyone puts in that
4:55much effort, of course, but my favorite
4:57title sequence belongs to the film
4:58Climax. It’s cool that it’s
5:00designed in a nineties style to match
5:01the film's setting. But what sent me
5:03into an inexplicable state of awe
5:05during my first watch was that Noé
5:06dropped the titles forty-six minutes
5:08into the film. And when someone drops
5:10the opening credits in the middle of a
5:11movie, it automatically becomes a
5:12masterpiece. I’m sorry, but I
5:14didn’t make the rules. But in all
5:16seriousness, that’s Noé’s elegant
5:17way of splitting the film into two
5:18parts. By the end of the first part,
5:20everyone is tripping on sangria laced
5:21with a "surprise," and the real
5:22nightmare begins in the second. That
5:24bald guy is basically saying: "If you
5:26want to, the movie ends for you right
5:27here—you can leave." But if you’re
5:29ready for what comes next, then for you
5:31, the movie is only just beginning.
5:32That said, I can't help but mention
5:34that no matter how provocative or
5:35repulsive Noé is to the masses, they
5:37still end up gravitating toward him. He
5:39directs commercials for Saint Laurent,
5:41helms a segment for Travis Scott’s
5:42Circus Maximus, and makes music videos
5:44for The Weeknd, Keem, Placebo, Animal
5:46Collective, and so on. Basically,
5:48thanks to his style and vision, the guy
5:50is in high demand. Alright, colorful
5:52pictures are all well and good, of
5:53course. No argument there, but damn,
5:55what is he actually making movies about
5:57? Interestingly, the title of Noé’s
6:01second feature film essentially defined
6:03the main theme of his body of work. His
6:05works may be based on different ideas,
6:07but the irreversibility of things is
6:09always present in them. They are all,
6:10one way or another, dedicated to the
6:12experience of some kind of traumatic
6:13event. The main kicker of Irreversible
6:15is its central event: the assault on
6:17the protagonist’s girlfriend. Before
6:19that, Monica Bellucci is reading a book
6:20, enjoying life with Vincent Cassel,
6:22and is pregnant by him. It’s all
6:24filmed statically and measuredly, just
6:26like the life of the young couple is
6:27unfolding. After that, it's a nightmare
6:29. Vincent and his friend desperately
6:31try to find the attacker. It’s all at
6:32night, amidst a bunch of degenerates.
6:34On top of that, the cinematographer
6:35seems to be having a seizure. But
6:36Gaspar said, "Screw it, keep it in." In
6:38Enter the Void, what proves
6:39irreversible is the death of the
6:40protagonist, a young junkie named Oscar
6:42. You might think, "Well, he died, so
6:43what?" But then you realize his younger
6:45sister, just as much of an outcast, is
6:47left without his protection. They slid
6:49to the very bottom of society because
6:51their parents died in a car crash. No
6:53guardianship, a dysfunctional
6:54environment. Well, it’s all pretty
6:55clear. And when you watch Oscar
6:57desperately cling to life and say, "Mom
6:59, I don't want to die." Damn, it’s
7:01just sad. And this happens at the
7:16twenty-fifth minute of the film. For
7:17the next two hours, his soul wanders
7:19between past and present, unable to
7:21find peace. In the film Love, the end
7:23of love is irreversible, while in
7:24Vortex, dedicated to an elderly couple
7:26where the wife suffers from dementia,
7:28old age and, ultimately, death are
7:30irreversible. Anyway, you get the point
7:31. All his works are about the fragility
7:33of human existence. They are about how
7:36a single event or decision can deeply
7:37affect or even break a person's life.
7:40No matter how hard we try to control
7:42our lives, there are always things
7:43beyond that control. You can wake up
7:46calmly, go about your usual business,
7:48but in the evening, something can
7:49happen that divides your life into
7:51before and after, and you never know
7:53when it will happen. A scary thought, I
7:55know, but even in this hopelessness,
7:56there is a little light. If you look
7:59closely, love is present in almost
8:01every Noé film. Yes, not just in the
8:03film of the same name. All this filth
8:05and horror he shoves right in our faces
8:07coexists with rather tender moments. In
8:09Irreversible, it's the morning scene of
8:11intimacy. In Enter the Void, it's the
8:12relationship between brother and sister
8:13. In Love. Well, kind of, yes. And
8:15Vortex is perhaps his most sentimental
8:17film of all. At the same time, it is
8:19still not light at all, and the
8:20relationships between the characters
8:21are very complex. All these films are
8:23harsh, unpleasant, and dark, but even
8:25they have room for love. Moreover,
8:27Noé's script fits on just a few pages,
8:29and all these complex emotions are
8:30conveyed primarily by non-professional
8:32or little-known actors. Big names like
8:34Bellucci or Cassel are one-time events,
8:36but he emphasizes improvisation and
8:38deprives not only his characters but
8:40also his actors of control. In Love,
8:42the sex scenes were not simulated. I
8:44mean, the guy was literally filming
8:45porn. In Vortex, Dario Argento, who is
8:47actually a director himself, refused to
8:49work from pre-written lines. And in
8:51Climax, real dancers were cast, most of
8:53whom had no acting experience. That is
8:56exactly the film I want to talk about
8:58separately. For me personally, Gaspar
9:03Noé's cinema fully revealed itself in
9:04Climax. Retelling films is a thankless
9:06task, but in short, it's about a group
9:08of dancers rehearsing their routine in
9:11a remote, closed-down school. The
9:12rehearsal goes well, and to celebrate,
9:14they decide to party. Their
9:16choreographer brings a bowl of sangria,
9:17and they all start drinking. But there
9:19is one catch. Someone spikes the
9:20sangria with LSD, and after that, chaos
9:22ensues. Some are enjoying it, some are
9:24in terror, some are looking for who did
9:26it, and others show their true faces.
9:28And as always, first and foremost, god,
9:30how cool it is shot. I was absolutely
9:32indifferent to dance, but here it's
9:34filmed so mesmerizingly that you can't
9:36look away. Wait, there's a soundtrack
9:38too. What kind? Giorgio Moroder, Daft
9:39Punk, Aphex Twin, Dopplereffekt,
9:41etcetera. Well, pretty decent stuff.
9:43Secondly, for me, this is Noé's least
9:45exhausting film. It runs for only an
9:46hour and a half and is quite dense with
9:48events compared to his other work. And
9:50finally, besides Irreversible, Noé
9:52talks about social issues here. In
9:54general, that's always hovered in the
9:56background, but his previous films were
9:58more about the existential. Here, there
9:59is direct criticism. And Noé is
10:01specifically criticizing society,
10:03French society to be exact. This is
10:04indicated by the diversity among the
10:06dancers, featuring white, black, gay,
10:07lesbian, and transgender people. As
10:09Russian people, we condemn all of this.
10:10God is with us. It's pointed to even
10:12more explicitly by the giant French
10:13flag hanging on stage. And against that
10:15background, they even shout: "Bleu."
10:19Wait, hold on, I've heard that
10:21somewhere before. And to make it
10:22perfectly clear, the film greets us
10:24with a title card, presenting a French
10:26film and being proud of it. It’s
10:28basically pure irony. Throughout the
10:30film, we can observe three levels of
10:31frankness between people. The first we
10:33see during the interviews at the start
10:34of the film. In them, the dancers act
10:36restrained, control their answers, and
10:38even praise each other after a
10:39successful rehearsal.
10:40Working with a choreographer like you
10:44is a great chance, and it will help me
10:47grow. I’m ready for anything.
10:49The second level manifests in private
10:50conversations between the characters.
10:52Everyone breaks off into groups and
10:54starts discussing others in a
10:55comfortable setting. Often in a
10:57not-so-positive light. Check out that
10:59chick. I banged her yesterday.
11:02You stand next to that David, and
11:04you'll end up being drugged. I'm
11:06telling you,
11:07I’d nail her so hard, the shaft would
11:09go right through and poke out her
11:10throat.
11:11And the third level, when everyone gets
11:12high. Then the models of behavior
11:14imposed by society are erased, and all
11:16real thoughts and desires come out. In
11:18the end, it turns into a real horror.
11:19You are lost. Around you are nothing
11:21but psychos ready to kill the culprit.
11:23Screams, the space is flooded with
11:24sickening colors, and the music won't
11:26stop pounding. As a viewer, I just
11:28don't want to be in that place. When
11:30you look at all this, you realize that
11:31the group of dancers is a reflection of
11:33society. Dissolving into an elegant
11:35group dance, they create an image of
11:37friendliness and cohesion. But as soon
11:38as a stressful situation occurs, the
11:40collective falls apart and the witch
11:42hunt begins. Of course, this applies
11:44not only to France. Such a thing can
11:46happen in a group of any scale. And all
11:48this is due to a simple lack of trust
11:49and wild paranoia. But honestly, Climax
11:51is actually more about the fear of
11:53losing control. And do you know why?
11:54Because everything I said here about
11:56French society is total [ __ ]. If we
11:58read the interviews, we'll see the cast
12:00was chosen by who could dance best, and
12:02the flag was just a random touch. Their
12:04site just had red, gray, and blue rags,
12:06and they were like, "Lol, that looks
12:08like a French flag, let's keep it." So,
12:11there’s actually no planned political
12:13subtext here, but that interpretation
12:15feels natural just because the details
12:17pointing to it are present. And even so
12:19, Noé still added that title card at
12:21the beginning. And god, how I hate that
12:24pretentious prick. I don’t even like
12:29Gaspar Noé's films, how’s that for a
12:31plot twist? They are incredibly
12:32stifling, monotonous, and stretch
12:34simple ideas over two hours. Take
12:35Irréversible, for example, I told you
12:37the whole plot in one paragraph. And
12:39that’s basically it, nothing else
12:40happens in the movie. It was edited in
12:42reverse not because it’s some clever
12:43move, but because Noé watched
12:45Nolan’s Memento. And in the end, it
12:46was just easier to sell the film to
12:47investors that way. Do you know what
12:49else he did when releasing the film
12:50Love? He made it in 3D so you’d put
12:52on glasses, and then show you an
12:54erection [ __ ] at you full screen.
12:56Like some kind of teenager. Probably
12:57sat there giggling when he came up with
13:00that. And when he released Climax, he
13:01made this poster. You despised I Stand
13:04Alone. You hated Irréversible,
13:05couldn't stand Enter the Void, and
13:07cursed Love. Now try Climax. And
13:09there’s Noé sitting at the bottom.
13:11You think you’re so damn cool, yet
13:12you make such disgusting movies. And
13:14his full-screen text. God, that’s a
13:16whole other topic. At the end of that
13:17same Irréversible, a strobe light
13:18starts, and he writes across the screen
13:20: "Time destroys everything." [ __ ],
13:22what a ground-breaking thought. His
13:23words contain letters. Why did I waste
13:25an hour and a half on this? Existence
13:26is an elusive illusion. Life is a
13:28collective impossibility. Death is a
13:29unique experience. Damn it, just shut
13:31up already. Fine, I can't say I don't
13:36like his films at all. Rather, I can't
13:39fully enjoy them, if that’s even
13:41possible in the first place. Visually,
13:43I really love his style, but most of
13:44his filmography is honestly boring to
13:46watch. In my opinion, anyway. The
13:48visual spectacle gets tiresome at some
13:49point because you simply don't feel a
13:51deep connection to what’s happening.
13:53The plot doesn't boast a wealth of
13:54events, and there are few
13:55well-developed characters. That's
13:57exactly why I genuinely like Climax,
13:59because at the center is a group that
14:00doesn't really need much fleshing out.
14:02There’s a lot of uncomfortable [ __ ]
14:03happening, and the runtime isn't
14:04stretched thin. In other words, it's a
14:06concentrated Gaspar Noé experience.
14:07But then another question arises: why
14:09even watch Gaspar Noé films at all?
14:14Personally, I’ve answered that
14:16question this way: Noé's work
14:18shouldn't be seen as standard films,
14:19but as a transmission of specific
14:21sensations through audiovisuals. You
14:23shouldn't expect deep drama from him.
14:25These are raw, unprocessed sensations
14:26and emotions that we can actually feel
14:28through the screen. Even when I wasn't
14:30always captivated by the content of
14:31Noé's films, I always experienced some
14:33kind of emotion while watching them. I
14:35felt massive discomfort, experiencing
14:37what the victims go through in
14:38Irréversible. And believe me, it is
14:40perhaps one of the most terrifying
14:41scenes I have ever seen. In principle,
14:43I’ve never been particularly
14:44impressed by dance, but in Climax, it
14:46mesmerized me. Watching the intimate
14:47scenes in Love, I truly felt their
14:49entire intimacy, and so on. You might
14:51like it or you might not, but you
14:53definitely won't remain indifferent.
14:55That’s where the monotony comes from.
14:56Gaspar Noé doesn't savor violence, sex
14:58, or drug trips; he shows them in their
15:00full duration and makes them repulsive.
15:03And there’s a certain honesty in that
15:04duration, I suppose. What do I mean by
15:06that? Usually, time in cinema is always
15:08artificial. Minutes, hours, or days can
15:10fly by in seconds for us thanks to
15:11editing. And conversely, seconds can be
15:13stretched into whole minutes, but Noé
15:15practically never does that. If the
15:17characters are having sex, it’ll be
15:19for ten minutes without a single cut.
15:20If a character is tripping, the trip
15:22will last for six minutes. And we’ll
15:24even watch its aftereffects. If the
15:25characters are jacking each other off,
15:27that will get three minutes, also
15:28without a single cut. And when I said
15:30Noé was criticizing something in
15:32Climax, that wasn't true precisely
15:33because he never gives you concrete
15:35answers. He immerses you into a
15:37specific situation. He brings you face
15:39to face with unpleasant things. He
15:41wants to show that they are real and
15:42it's pointless to hide them; what you
15:44take from that is entirely up to you.
15:46In short, as you’ve gathered, my
15:47relationship with Gaspar Noé is
15:49complicated, but the point is that's
15:50perfectly normal. This is experimental
15:52cinema showing disturbing things, so it
15:54would be weird if anyone actually
15:55enjoyed it. But he is quite the troll,
15:57honestly. And when you think about it,
15:59it turns out pretty funny. I accuse him
16:00of pretentiousness, yet I find meaning
16:02in colorful rags that isn't even there
16:04in the end. Perhaps there is nothing
16:05pretentious about him, and the man is
16:07just doing what he enjoys. He just sits
16:09in the director's chair and goes, "Yeah
16:10, I can make a movie about love
16:12bordering on porn." Sure, I can hang
16:14French flags everywhere, but in the end
16:15, it won't be about politics or
16:17anything like that. Like, what are you
16:18going to do to me? Anyway, I haven't
16:20been inside his head. I can only guess.
16:21What can I say for sure? It's that
16:23Gaspar Noé is the kind of director who
16:25doesn't compromise his vision. He
16:27rarely makes films, but he always does
16:28it on his own terms. And that ambiguity
16:30is exactly why he's interesting to me.
16:32It's easy to understand why people
16:33watch good movies. But controversial
16:35ones are much harder to figure out.
16:36Whether Gaspar Noé makes good or bad
16:38cinema is ultimately up to you to
16:40decide. Hey

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