Gaspar Noé is an Argentine-born filmmaker who has made a name for himself in the French film industry. He is known for his provocative and hyper-bombastic style, which often incorporates innovative cinematographic approaches and editorial techniques.
In addition to his own films, Noé is also known for his involvement with the French film collective “La Bande des Quatre,” also known as “The Wild Bunch.” This group of filmmakers, which includes Noé, Bruno Dumont, Claire Denis, and the late Jean-Luc Godard, is known for their unique and often challenging approaches to cinema. Together, they have pushed the boundaries of the medium and influenced a generation of filmmakers.
One of Noé’s most notable techniques is his use of first-person perspective, which he employs to great effect in his 2009 film “Enter the Void” (2009). In this film, the viewer is put in the shoes of the protagonist, following his every move and even seeing the world through his eyes, complete with the character’s visual eye-blinks.
Photosensitive Warning: Read Before Playing! A very small percentage of individuals may experience epileptic seizures when exposed to certain light patterns or flashing lights. (this is true of most Noé films).
In addition to his use of first-person perspective, Noé is known for his experimental and avant-garde approach to storytelling. He often employs nonlinear narratives and long takes, as well as elaborate camera movements and visual effects, to create a unique and immersive viewing experience.
Noé’s films often deal with heavy themes such as violence, sexuality, and drug use, and have garnered both critical acclaim and controversy for their raw and unflinching portrayal of these subjects. His 2002 film “Irreversible” (2002) caused a stir at the Cannes Film Festival with its graphic depiction of rape and revenge. The film is shot in reverse chronological order, with the events of the film unfolding in reverse from the end to the beginning. His 2015 film “Love” depicted a young couple’s tumultuous relationship through a series of explicit and often-graphic sex scenes.
Despite the controversy surrounding his work, Noé has received numerous accolades and awards throughout his career. “I Stand Alone,” (1998) his first feature-length film, won the Critics’ Week Grand Prize at the Cannes Film Festival, and “Irreversible” was nominated for the Palme d’Or. In 2015, he won the Best Director award at the Cannes Film Festival for “Love.”
My characters are never heroic. They are mostly lost and trying to find the right door to open and they end up opening the wrong doors.
– Gaspar Noé
In recent years, Noé has continued to push the boundaries of cinema with his bold and provocative films. His 2018 film “Climax” followed a group of young dancers as they descend into madness after accidentally consuming spiked sangria.
One of Gaspar Noé’s more recent films, “Vortex,” (2021) tells the story of a couple whose ability to care for one another becomes compromised as they age and one develops dementia. Despite the difficult subject matter, the film is quietly devastating, and Noé’s use of split screen throughout the film effectively highlights the subjectivity of each partner in the relationship and their decline. I had the opportunity to see “Vortex” at a private press screening in Los Angeles, and was struck by the intimacy and compassion with which Noé approached the subject.
In “Lux Aeterna” (2019) two actresses, Béatrice Dalle and Charlotte Gainsbourg, are on a film set telling stories about witches. However, the film is not just about this subject matter – it is also an exploration of cinema itself, and the passion and love for the medium. Additionally, the film delves into the sometimes chaotic and frenetic world of on-set hysterics.
Photosensitive Warning:
Noé’s career as a filmmaker has been defined by his willingness to tackle difficult and taboo subjects and his distinctive and experimental approach to storytelling. While his films may not be for everyone, there is no denying the impact and influence he has had on the world of cinema.