Whenever any cinematic movement occurs with a noticeable sense of purpose on screen, critics commonly employ the trope of reaching into the language of dance. It’s not just walking, it’s a filmic ballet. It’s not just blocking, it’s choreography. Maybe it says something more about the scattershot cinematography of a screen-saturated culture where images are captured with little acknowledgement of the relationship between the subject and cameraperson, but when the two are in complete symbiosis, it stands out.
French writer, director and provocateur Gaspar Noé makes a more literal connection between dance and camera blocking in his latest film, Climax. The story, insomuch as there is one, follows a group of dancers as their drug-laced sangria sends their rehearsal careening off the rails and straight into hell. Not unlike in his psychedelic Enter the Void, Noé explores the possibilities of his camera with cinematographer Benoît Debie to mimic a sensation. Here, it’s the ecstasy and agony of a body in motion, controlled and compelled by a force deep within beyond their command.
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Gaspar Noé, a filmmaker who revels in pushing things to the extreme, is back with Climax. The latest film from the Irreversible director focuses on a troupe of dancers dealing with a bad trip after accidentally taking psychedelic drugs. Sounds fun! Watch the Climax trailer below.
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Provocateur director Gaspar Noé has built his career on scandalous movies like I Stand Alone, Enter the Void, Irreversible, and Love. Now he’s back with Climax, a trippy drama about a group of dancers who drink spiked sangria, and some critics are calling it his best movie yet. Sofia Boutella (Kingsman: The Secret Service, The Mummy) leads the cast, and you can watch the first Climax trailer below. Read More »
It’s Cannes time, which means the marketplace is opening in France, and producers, sales agents, distributors, and other money-traders are converging to make deals to produce and exhibit new films. Two of the first big filmmakers who will be selling their new projects at the festival are Paul Verhoeven and Gaspar Noé. We’ve got what little info is available on their new projects, after the break. Read More »
We’ve occasionally followed the development of 7 Days in Havana, an anthology film in which seven directors each chronicle one day in Havana, Cuba. The attraction is the set of directors, which includes Benicio Del Toro, making only his second time in the director’s chair (with Josh Hutcherson from The Hunger Games in his cast) and Argentine firebrand Gaspar Noe, who last made Enter the Void and is generally associated with French cinema thanks to his films Irreversible and I Stand Alone.
We know that Noe’s movies are often quite visually distinctive, so here’s your test for the day: can you watch the trailer below and guess right off which footage comes from Noe? (Answer: probably not.) Read More »
Gaspar Noe‘s third feature, Into the Void, was one of the more divisive films of the past couple years, and easily one of my favorites. I’ve admired his peculiar and confrontational approach to storytelling, and the superb technical craft that underlies his narrative bravado. But those very qualities I admire, and the working methods they imply, make him the sort of director that isn’t likely to take many work for hire gigs. Cue a bit of surprise, then, at the report that the director is being wooed to take the helm of The Golden Suicides, scripted by Bret Easton Ellis based on the true story of a superstar art world couple who perished in a bizarre double suicide. Read More »
My original title for this piece was ‘Kanye West Loves Enter the Void, But Not Enough to Credit It.’ Because the video for the Kanye West single ‘All of the Lights’ is dominated by strobing full-screen text missives that are pure imitations of the brilliant and assaultive credits sequence for Gaspar Noe‘s Enter the Void. But while the video sees fit to ape the credits to Gaspar Noe’s latest film right down to the fact of crediting some of the people involved in the video, it doesn’t actually shout out to the film or filmmaker that inspired it. Bad form, Kanye.
Then again, the video already has far more than two million views on YouTube, and perhaps it will bring a new and unsuspecting audience to Mr. Noe’s film. Check out the video and the credit sequence that inspired it, after the break. Read More »
Ever since its 2009 premieres at the Cannes and Toronto Film Festivals, Gasper Noe‘s Enter the Void has been a rapid topic of film geek conversation. The opening credits, the how-did-he-do-that shots, the amazing concept and, of course, the disturbing content about a murdered drug dealer whose spirit watches over his sister, have each been meticulously dissected as more and more people get exposed to the film. It’s played tons of festivals over the course of almost two years and now, after a very-unsuccessful U.S. theatrical run this fall (the film grossed only $336,467 according to Box Office Mojo) IFC Films will release the film in theaters one last time before its Blu-ray release on January 25.
However, this very limited theatrical release will be of the uncut version of the film featuring the omitted 7th reel which was not in the U.K. or U.S. theatrical releases. Read exactly what has been added and where you can see this version of the film after the jump. Read More »
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What is it with omnibus films of late? In the past few years there have been Chacun son cinema, New York, I Love You, Paris Je T’aime and a couple others. And now there’s a plan to put together a seven-part film about live in contemporary Cuba, called 7 Days in Havana. The hook here is the directorial lineup, which includes Benicio Del Toro and Gaspar Noe. That’s good enough for me — I’ll spend a week in Cuba with these guys. Read More »
This domestic trailer for Gaspar Noé’s Enter the Void is the best look yet at the colorful head trip of a movie that premiered over a year ago at Cannes. IFC picked up domestic distribution rights and will release the film on September 24. This is the company’s first major promo effort for what must be a pretty difficult sale, but the trailer does its job well. My sky-high interest in seeing the film certainly hasn’t changed after watching it a couple times. Read More »