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Recenzii ale criticilor
Irreversible
Gaspar Noé Franța, 2002
Admittedly, Irreversible is more horrific drama than straight-up horror. But it’s the film’s formal qualities and narrative structure that propel it to true horror, the spinning camera evoking nausea as the subject matter reflects a journey to hell and back.
October 29, 2015
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Without the luxury of nearly thirty hours of previous narrative to build on [like The Sopranos], Irreversible instead chooses to grab viewers by the lapels with swirly-twirly camerawork (during the first handful of sequences, the camera floats, spins, and undulates, seemingly to induce motion sickness), showboating compositions, and deafening audio effects.
March 12, 2014
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That first act, the eating of the forbidden fruit, brought sin and death into the world and all our woe, and now every first act of conception and birth brings death into the world anew. “Time destroys all”. The beginning is ever a harbinger of the end.
April 01, 2004
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The cinema of attractions employed by Noé in his latest film go so far beyond what he used in his debut feature that spectators were fainting at the beginning of the film at the Cannes premiere, perhaps from the vertiginously tilting opening titles that run backwards and the grinding, undulating bass tones that accompany them.
October 01, 2003
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Gasper Noé’s Irreversible, from his own convoluted screenplay, convinces me as nothing else so far that I have reached the point of diminishing returns with movies that pretend to be profound by having their pulpy, banal stories told backwards and sideways and upside-down.
April 02, 2003
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Noe’s summation is an ideological sucker-punch from a filmmaker who gets off on abusive relationships. He may as well have thrown a big ’’whatever’’ up on the screen.
March 14, 2003
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In spite of being stupid and odious, Irreversible is still interesting for the way it plays with the viewer’s nerves. I can’t bring myself to call it “worth seeing” for most people, but I also can’t deny that it’s made with a great deal of skill or that some of its ideological confusion can be learned from—as long as it’s recognized as confusion.
March 14, 2003
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Which is worse, feeling a visceral scene so intensely that you might become sick? Or staring at a scene so horrific that you feel guilty? Challenging notions of watching sex and violence in cinema with a unique compare and contrast of unpleasantly, one has a hard time knowing exactly what to feel-but he’s a good enough filmmaker to create something other than simple shock… Feral yet eloquent, Irreversible is a work of painful, vicious poetry.
March 07, 2003
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And Alex? She has no place in this dialectic; she’s just meat, packaged in revealing satin one minute, pounded into hamburger the next. Noe, with his Nietzsche-for-knuckleheads nihilism and extreme-cinema ambitions, clearly fancies himself a visionary, but mounting a camera on a roller coaster or putting a story into rewind doesn’t make a film formally adventurous or interesting.
March 07, 2003
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It feels like a parlor trick, or in this case, a particularly volatile game of three-card monte, a mixture of Godard and William Friedkin. The frenzied momentum churns up a lot of adrenaline and stomach acid for Irréversible. But the performances certainly don’t stir up much emotion. Except for the sodden Mr. Dupontel — whose shadings of remorse bring the only real feeling to the film’s morbid intensity — no one else creates a character. And it’s why Irréversible is ultimately forgettable.
March 07, 2003
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Noé’s final message (the pretentious intimations of the cosmic in the film’s last shot aside) is a bracingly humane one, which is that actions have consequences, and that you should be really careful of the way you treat people you profess to care about. Yes, Noé’s methods are unorthodox, to say the least. But this confrontationalist is a moviemaker worth confronting, if you’ve got the stomach for it.
March 06, 2003
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Flee the theater in horror if you must, but to accuse Noé of engaging in adolescent shock tactics, as many have, is to take comfort in the aestheticization of brutality—to argue, in effect, that it’s only acceptable to depict sexual violence if one glosses over or elides its ugliness. On the contrary, there’s an integrity in choosing not to look away, and whatever twisted enjoyment Noé may derive from pure extremism doesn’t negate that integrity—those impulses can coexist.
March 06, 2003
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From the end to the beginning—or is it from the inadvertently ridiculous to the would-be sublime?—Noé’s stunt is an exploitation movie with a gimmick, not to mention a vacuous philosophy: “Time destroys everything,” Nahon informs us. Bien sûr. And if you need proof, spend 90 minutes with Irréversible. You won’t get them back.
March 04, 2003
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Gaspar Noé’s controversial Irréversible shares [Audition’s] flair for cruelty and [Inception’s] reverse storytelling but its stylistic excesses are just that. Curiously, it’s not the film’s grueling, near-suffocating first half that will shock audiences as much as its lazy second half, when this glorified snuff film de-evolves into a pretentious comedy of manners.
February 18, 2003
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One does not often see such absolute mastery of the medium, but even less frequently is a director willing to place this mastery in the service of such an aggressive, relentless film. From the opening shots of the downtown buildings at night, to the unhinged, frenetic camera searching through the Rectum gay SM club, right down to the very last shot, Noé employs the techniques of pure cinema which almost every other narrative filmmaker leaves aside to avoid making anyone angry or nauseous.
February 01, 2003
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The sensory assault begins with the first frame, and continues to the retina-blasting, eardrum pounding strobe-coda 90-odd minutes later – very few films have ever been so hell-bent on scourging its viewers basic cinemagoing faculties. This is art operating at, and beyond, the accepted limits of taste and decency. It must be seen by anyone who is both (A) even remotely interested in the state of modern cinema, and (B) in possession of a very strong stomach.
August 18, 2002
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