Initially absorbing, in the way the worlds we used to make up as kids were absorbing; with their rules that emanated from an internal logic that we all just inherently understood; that were fun, but somehow also strangely serious, and time passed unnoticed... Now I notice. After an hour, despite Rivette's vision, the great diegetic music, the sets, my 4 stars started falling... 2.5, up from 2, for the brilliant end.
Phantasmagorical piratical vengeance with dissonant chamber music! I loved the lo-fi fantasy aesthetic, but sadly my brain is too twitchy and neurotic to allow full immersion into Rivette's intoxicating world. "No more masks." "That it, exactly. A masked ball! With fireworks!"
To say the film is confused and meandering is an understatement. The film does no favors for the viewer to connect to or even comprehend the film for the beginning. The movie starts without prompting or time for the viewer to adjust to the world that he or she is expected to inhabit for the next 2+ hours. That all said, I still credit this film for being ambitious where too many films remain lackluster.
Left me befuddled. Frustrated at any attempt to form a cohesive plot in my head. Hard to tell actors apart from dead bodies. The musicians playing the music are actually in the movie, which was cool but most of the music was horrible to listen to. Not enough nudity for such an artsy flick
This film reminded me of "Out 1"; while compared, "Noroît" lacks some of the mystery and atmosphere, it makes up for it with the unique combination of the setting, story, gorgeous costumes and experimental dance elements. While probably it is not Rivette's greatest film, his magic and madness still can be found here!
I know its Rivette but man....I just could not get behind this. Everything that gives arthouse cinema a bad name is included here. Maybe this was new and daring back in 1976 - yet I think that even then it would have appeared a good 10 years out of date. Rivette is usually a complete joy but this is a complete disaster.
Buccaneers are blended with a mid-70s wardrobe and thrown into an avant-garde revenge adventure that's big on theatrics and strung together with postured choreography and a diegetic score as eclectic as the visual mash-up. Recommended for swashbuckling discothèque adventurers that are also lovers of Jacobean vengeance.
Can come over as 70s avant-garde am-dram with costumes that wouldn't be out of place in Abba The Musical complete with noodling flute music and a dose of faux mythology best accompanied by a voiceover on semiotics from Roland Barthes. But it's also a fascinating, decidedly serious deconstruction of the role of text, sound and character in film as a psychoanalytical reflection of the unconscious. I loved it.
Rivette was so cool. Even though I don't exactly understand why they all kill each other I guess because they are all fighting over the pirate treasure? I love how the violence is all very obviously fake like in a stage play, not like a modern movie where they make it look like realistically horrifying murder.
RIVETTE, polygame cinématographe, marionnettiste des femmes, aime les coller ensemble, les faire s'affronter, se rapprocher. Butinant de femme en femme, ce film long & lent est 1 mille-feuille, 1 sabayon doux, parfois écoeurant. = RIVETTE, polygamous puppeteer of women, likes filming them close to each other. A long & slow movie like a layer cake, at times indigest. Bernadette LAFONT, Geraldine CHAPLIN, Kika MARKHAM.
It’s a fine line between a good avant-garde film and a ridiculous one but with “Noroît”, Rivette falls below the line. Annoying overacting, embarrasingly clumsy action scenes and way too much trying to be arty. The best thing is the world in which the movie is set: a sort of timeless-yet-70s-disco-middleages in which women have (finally) taken over.