Reviews

If you made your way through Gaspar Noe's film "Irreversible"(congratulations are in order if you did) then you'll most likely be able to "take a trip" (literally) along with "Climax's hip, slick and cool French dance company as they spiral their way down a "rabbit hole" the size of the San Andreas Fault. You'll find yourself wanting to immediately compare "Climax" to "Susperia" (at least I found myself doing) which is quite understandable as Noe' uses the same "eye popping", brilliantly shot, red, yellow and green palate from which to use, as well as both film's protagonist(s) encompassing the same paranoiac behaviors as they search for any form of elucidation for the mania/hysteria that engulfs them. Both directors use the setting of a dancer's dormitory-studio where thing are "not always as they seem" where their surroundings are meant to provide a "safe space" for each films' characters to dwell in, as well as for the audience to feel a sense of familiar comfort which is, ultimately shattered, to say the least. Noe' frames his opening "video" interviews between what appears to be his favorite books, films, scripts which give hints (if we are paying close attention) to many of the film's cinematic "winks and nods" to such directors (Noe's influences?) as Godard, Lynch, Bunuel and Argento-just to name a few! One of the many videos stacked surrounding "Climax"s opening "video" interview sequence is Zulawski's "Possession" (1971). Remember, I said to watch very carefully for the various Easter eggs, hints and homages. It is as if Noe' is begging us to notice his knowledge/expertise of film history and aesthetics as if to say, "Look here! Did you catch that?"! We begrudgingly witness (Argentinian dancer/actress) Sofia Boutella's descent into madness that rivals Isabelle Adjani's (1981) Palme d'Or best actress win/performance. Boutella thrashes herself, not unlike Adjani, into the claustrophobic barriers of a hellish corridor that even the likes of Dante' would appreciate. I found myself hypnotized (drugged?) not unlike the character's, while viewing most of the film's somewhat relentless harrowing and hideous sequences that are strategically juxtaposed to the Electro-industrial, Hip Hop and Disco soundtrack (download on Spotify-great for cardio!). Keep your eyes peeled (no pun intended) for the director's insertion, amongst the video stack, of Bunuel's "Un Chien Andalou" which serves as a thematic warning that we, like those who originally viewed the 1929 masterpiece, will have our eyes opened "literally" to a new way of viewing cinema. Like a Siren's splendidly abhorrent cry luring sailors towards the rocks, we too are seduced by "Climax"s psychedelic call towards our cinematic gorgeous demise.

Once I heard the delightful music upon the opening credits and Fanny Ardent's heels clicking down the avenue-I was immediately hooked on the film-who wouldn't be? I love that he goes full circle with the same tunes at the end of the film while the choir children are shuffling the camera man's lens around like a hockey puck! Fanny is just a gem to watch-one is just mesmerized by her intoxicating beauty and her (as one of the policeman puts it) her "Miss Know it All"-ism. Once commenter on this site compared the film to Woody's "Manhattan Murder Mystery" which in and of itself contained many Hitchcockian references. I see Ardent as possibly the "Keaton" like character-mischievous-looking deeper and deeper-opening up "Pandoras Box" getting into trouble for for justice! As fans of Truffaut we all know this was indeed his tribute/homage to Hitch and a great one indeed-not only to him but to film noir all together. One can only think if Truffaut had lived longer what other genres he might have explored since this was such a wonderful example of not only the genre itself but also of his brilliant style of film-making for generations to share forever. God bless Francois Truffaut!