Seconds (1966) maybe?
A few of Dario Argento’s films have moments of disorienting camera works
EDIT: Also, most of Shinya Tsukamoto’s work (Gemini, Tetsuo, Bullet Ballet, Nightmare Detective)
I second “Seconds.” A brilliant film!
I thought the music video for Prodigy’s Smack My Bitch Up directed by Jonas Akerlund is very similar to his work.
If we’re including music videos, I’d add Simone Strange’s for Templeton’s “Starling.” Hard to find but worth it. A tour de force.
Brian DePalma!
Zulawski
(and if Noe denies this, he’s a fucking liar)
Lady in the Lake does the POV thing.
“I was working on Enter the Void many years before Irreversible, so I had been thinking about using such a free-flowing camera. It’s been done a lot before, but never in such an expanded way. There are many shots in Brian De Palma’s movies when the camera is flying over someone’s head, there is a similar shot in Taxi Driver, as well as in Lars Von Trier’s Europa or even in Mishima by Paul Schrader. There’s also, in Minority Report, one long shot that hangs above the set. I like those shots, but I’d always dreamed of having a movie where for one full hour you’d be flying above the sets. I’m happy that no one else did it before me.”
“maybe Anger’s Inauguration of the Pleasure Dome or some of Brian de Palma’s movies. I really like aerial shots and everything in the one with Nicholas Cage. Snake Eyes I think.”
He’s mentioned the serial killer movie Angst (1983) as an influence multiple times. The camerawork is not of this world.
Delmer Daves’ Dark Passage had the same POV shots of Humphrey Bogart. The aerial shots reminded me of Taxi Driver, as Matt Parks pointed out.
Gaspar Noe digs Snake Eyes? That’s awesome. I’ve heard him talk about Ophuls also, particularly when talking about his aesthetic aims in Irreversible.
I agree with the Taxi Driver comparison. The opening of Irreversible feels like an extended stay in the brothel from Taxi Driver if it were a gay club. The lighting and feel were very similar.
It’s on a radically different scale as far as size goes, but I’d also point towards Beriff’s disembodied floating helicopter camerawork in LESSONS OF DARKNESS which occasionally gives the impression of a great hovering sentience in much the same manner as ENTER THE VOID’s contemplative observing spirit.
Yeah, I’ve been wanting to see Angst, but I have no idea how to find it.
I recently saw the Pusher trilogy and Bleeder by Nicolas Winding Refn and thought those films had some similarities to Noe’s work. There’s even a camera sequence in Bleeder that is all topsy-turvy, although it is in a rather non-threatening video store. These films are also depict very gritty and extremely violent worlds of urban decay.
Cernunnos Trismegistus
Just wondering if any other films have made extensive use of the kind of disorienting camera movements found in Irreversible, Enter the Void and Noe’s short films.