If you want to see how innovative, experimental, impressive and immersive camerawork may be you should see the films of Gaspar Noe. And if you want to see how plodding, disjointed, padded. uncomfortable self-indulgent and uninteresting film can be … see the films of Gaspar Noe.
Both of his films, currently available on Netflix required liberal use of the fast forward button to get me through them.
However, I do believe that the pyrotechnic visuals of Noe, tempered by a real story/script and a director with an actual viewpoint, could one day make a great movie rather than just these masturbatory visuals in service to violent fragmented moments of fragmented damaged lives.
When that day comes I for one would not bet against Gaspar Noe; but until that day, Noe’s films are curiosities at best, and at worst you come out of them feeling… the whole thing was a tedious waste of two perfectly good hours of your life.
I will say this… I prefer the trippy, lost indulgence of ENTER THE VOID to the violence strewn IRREVERSIBLE. The first 15 minutes of IRREVERSIBLE, the descent into hades, is some virtuoso, ‘you are there’ film-making, but past that point and the film has nothing to offer but bile and tedium.
Though both films I feel, would have been twice as good if they were half as long. That is to say a judicious use of editing was very much needed.
Grade: C-/D. Have the Fast Forward button handy.
A far more intriguing and compelling and absolutely bonkers but mesmerizing alternative to either of those Gaspar Noe films is a film by Yorgos Lanthimos called DOGTOOTH. Streaming on Netflix only for two more days, so watch it now.