Irreversible, Gaspar Noé's second feature film, still generates contradictory controversies due to its explicit and violent content that it possesses, delving into the most primitive forms of human excesses, based on revenge as the starting point of the story.
Narrated in reverse chronology, the events in Irreversible are presented from the end to the beginning of the story, that is, the last one witnessed in this tragic story is what gives rise to the action after the credits.
As the main premise, the film focuses on the revenge of the characters played by Vincent Cassel and Albert Dupontel, before the ruthless rape of the partner of one of these. It is from here that the breaking point of the story occurs (chronologically) and in the same film.
Entering the controversy, the film was questioned in Cannes in 2003 for its relentless violent content and for having the longest rape sequence in history. It is the latter that gives meaning to the macabre events that are present in history. The influence of this will condition the subsequent actions of the protagonists.
At this point Gaspar Noé seeks the greatest possible realism without falling into subtleties but, at the same time, it is not an irresponsible exercise on the situation to be narrated. It is understandable the contempt that it can cause in the majority of the spectators because it is absolutely grotesque; however, it is the spearhead that allows us to give real meaning to the rest of the story. I mean, (spoiler) after this fact, the protagonists seek revenge against the aggressor but are submerged in a sea of madness and despair that, consequently, end up murdering the wrong person. From this, it is that the tragedy of Irreversible arises, to what primitive point of violence and despair can be reached; that aberrant fact about the character of Monica Bellucci is comparable to the damage of killing an innocent, represents the rod between impulses and sanity, calm and madness.
After the tortuous scene of rape, the previous events take place, where the characters meet at a party that is perfectly filmed and coordinated in sequence; to then reach the end (which is the beginning of the story) in which our victim protagonist finds out that she is pregnant, and then Noah shows us a beautiful scene with children playing outdoors while the camera rotates around them.
The film itself is filmed in several sequence shots that seek to turn the viewer into protagonists of the action, which is why we can observe sequences with deformed shots and sudden movements that denote the aesthetics of the situation that is being demonstrated.
The sound design has a detailed number of themes and effects that make the viewer uncomfortable. It also has an audio track that is inaudible but that, when exposed to it for a long time, causes nausea and dizziness.
In addition, it is necessary to emphasize the credit titles, perfectly positioned at the beginning of the film, they move from bottom to top, leaning until they leave the screen, with letters positioned backwards; rhyming with the film's offbeat narrative.
Noé's bold decision to tell the story in reverse chronology provides greater suspense and intrigue for the events that triggered the atrocities, being the most notorious way to recognize the film.
"Time destroys everything" is a clear example of a tragedy in which actions and time apply a scenario of no return to irreversible events.
Narrated in reverse chronology, the events in Irreversible are presented from the end to the beginning of the story, that is, the last one witnessed in this tragic story is what gives rise to the action after the credits.
As the main premise, the film focuses on the revenge of the characters played by Vincent Cassel and Albert Dupontel, before the ruthless rape of the partner of one of these. It is from here that the breaking point of the story occurs (chronologically) and in the same film.
Entering the controversy, the film was questioned in Cannes in 2003 for its relentless violent content and for having the longest rape sequence in history. It is the latter that gives meaning to the macabre events that are present in history. The influence of this will condition the subsequent actions of the protagonists.
At this point Gaspar Noé seeks the greatest possible realism without falling into subtleties but, at the same time, it is not an irresponsible exercise on the situation to be narrated. It is understandable the contempt that it can cause in the majority of the spectators because it is absolutely grotesque; however, it is the spearhead that allows us to give real meaning to the rest of the story. I mean, (spoiler) after this fact, the protagonists seek revenge against the aggressor but are submerged in a sea of madness and despair that, consequently, end up murdering the wrong person. From this, it is that the tragedy of Irreversible arises, to what primitive point of violence and despair can be reached; that aberrant fact about the character of Monica Bellucci is comparable to the damage of killing an innocent, represents the rod between impulses and sanity, calm and madness.
After the tortuous scene of rape, the previous events take place, where the characters meet at a party that is perfectly filmed and coordinated in sequence; to then reach the end (which is the beginning of the story) in which our victim protagonist finds out that she is pregnant, and then Noah shows us a beautiful scene with children playing outdoors while the camera rotates around them.
The film itself is filmed in several sequence shots that seek to turn the viewer into protagonists of the action, which is why we can observe sequences with deformed shots and sudden movements that denote the aesthetics of the situation that is being demonstrated.
The sound design has a detailed number of themes and effects that make the viewer uncomfortable. It also has an audio track that is inaudible but that, when exposed to it for a long time, causes nausea and dizziness.
In addition, it is necessary to emphasize the credit titles, perfectly positioned at the beginning of the film, they move from bottom to top, leaning until they leave the screen, with letters positioned backwards; rhyming with the film's offbeat narrative.
Noé's bold decision to tell the story in reverse chronology provides greater suspense and intrigue for the events that triggered the atrocities, being the most notorious way to recognize the film.
"Time destroys everything" is a clear example of a tragedy in which actions and time apply a scenario of no return to irreversible events.
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