Gasper Noe is a filmmaker who literally wants to show you hell on earth. He wants to lead you into the pit, to make the ultimate shocking spectacle of our violence and addiction and depravity. He did it in two sequences of â€śIrreversible,â€ť his 2002 drama of degenerate psycho horror: At a nightclub, a man smashed someoneâ€™s face â€” over and over â€” with a fire extinguisher, until his entire head was turned into hamburger. (When I first saw the movie, it looked so real that I thought, for a moment, Noe had filmed an actual murder.) Then, in an empty tunnel, Noe staged a rape sequence in a hideously long and unflinching shot â€” one of the most excruciating scenes ever filmed. You were practically invited to debate the morality of what you were seeing, yet there was no denying the debauched mastery of the button-pushing.
Ever since then, however, Gasper Noeâ€™s career has been haunted by a single question: Once youâ€™ve taken your audience to hell, what do you do for an encore?
â€śClimax,â€ť Noeâ€™s latest plunge into the forbidden zone, lets you touch, once again, the blue flame of his talent. For about 45 minutes, itâ€™s quite compelling, and with its ensemble cast of 20 young dancers, it feels like a new flavor for this artist of scandal. â€śClimaxâ€ť is a much better film than â€śEnter the Voidâ€ť or â€śLove,â€ť in which Noe worked so hard to shove everything to the extreme â€” thatâ€™s basically his brand â€” that more very quickly become less. And less. As a filmmaker, Noe is now a junkie of evil: He keeps reaching, through increasingly numb tolerance levels, for a higher high, and he has no idea when heâ€™s crashing. Yet â€śClimaxâ€ť works, at least when itâ€™s willing to be a human drama. But then it begins to sink in that youâ€™re watching â€śFameâ€ť as told by the Marquis de Sade with a Steadicam.
The movie opens with videotaped interviews of the dancers (seen on an old TV), whoâ€™ve been assembled in a troupe thatâ€™s scheduled to tour France and the U.S. Theyâ€™re all in their early twenties, with very rad hair, and theyâ€™re a racially and sexually diverse crew, bursting, in different ways (some sullen, some punchy), with hipster street confidence. The film then cuts to a dizzily choreographed dance sequence set in a dank rehearsal space (it looks like an empty wedding reception hall), set to throbbing â€™90s EDM and photographed in a single hypnotically unblinking head-on shot.
It may be one of the most enthralling dance sequences youâ€™ve ever seen. I donâ€™t quite know how to describe what it is these dancers do, but theyâ€™re like krumpers or wackers or voguers doing flex dancing at astonishingly fluid speeds, so that their arms seem to be stretching out of their joints and rolling over their torsos. No one pose is held for more than a split second; theyâ€™re like living Cubist paintings. And though each of the dancers has a highly personal style of gymnastic flair, what they all express is the energy of the new world: sexually equal, driven by an aggression thatâ€™s splendidly uncontained.
Then thereâ€™s a rehearsal break, and they all stand around flirting and giving each other a hard time as they guzzle the sangria that the troupeâ€™s leader, Lou (Souheila Yacoub), has made for them. The music keeps on throbbing, and Noe glides his camera around, gathering the vignettes into one long mad swirl of boasting and nasty gossip.
The actors pulsate with erotic energy, to the point that we could literally imagine any one of them hooking up with any other. Yet their personalities come through, and we start to register who they are: David (Romain Guilermic) the conquering dick, Selva (Sofia Boutella) the bi-curious choreographer, Daddy (Kiddy Smile) the sweet-souled DJ. For a while, Noe ditches his single-shot technique, cutting among the conversations, and we actually start to get interested in who these people are. A funny charged dialogue about anal sex seems to catch the essence of toxic masculinity and undercut it at the same time.
I kept hoping that â€śClimaxâ€ť would stay on this relatively sane level, with its balance of sensation and interaction. Thereâ€™s a second extended dance sequence, this one shot looking straight down from above, and itâ€™s another dazzler. If Noe ever decided to make a musical (and he should), it could be killer. But â€śClimaxâ€ť turns out to be â€” yes â€” one more Gasper Noe film, another didactic dip into the inferno. Its tone is ominous, driven by the electricity of fear, because what weâ€™re really asking ourselves is: What horrors is he going to show us now?
Hereâ€™s what happens. Someone has spiked the sangria with LSD, and just about everyone is drinking it. So they all start going slowly out of their minds on acid. â€śClimaxâ€ť never leaves the rehearsal space, though there are other rooms in it, and as Noe whips his camera around the place in a sustained voyeuristic frenzy, the veneer of civilization falls away. But even before the acid kicks in, thereâ€™s some nasty business: One of the women reveals herself to be pregnant, and another one â€” who looks, unfortunately, like one of the furious bald amazons from â€śBlack Panther,â€ť which lends the scene an uncomfortable racial undercurrent â€” proceeds to kick her in the stomach. Is it horrifying? Yes. But I also didnâ€™t believe it. And thatâ€™s the moment where Noeâ€™s addiction to shock value, which he had kept under control until then, starts to get the better of him. Simply put: If we donâ€™t completely buy what weâ€™re watching, how horrifying can it be?
Thereâ€™s a young boy on hand â€” heâ€™s the son of the dance troupe leader â€” and he end up getting locked, by his mother, in an industrial closet, where he screams and screams, suggesting the kind of trauma that will now ruin his life. Why stage a scene like just to make the audience squirm? Yet even to ask that question is to place yourself on the uncool side of Noeâ€™s game. According to the movieâ€™s stoned logic, the depravity that takes over â€śClimaxâ€ť doesnâ€™t need to have rhyme or reason. Itâ€™s operatic and allegorical. Itâ€™s The Beast coming out, and our job is to sit there and gawk at it in awe.
Except I felt my jaw going slack, and began to miss the personalities from the first half of the movie. The dance music (Daft Punk, Aphex Twin) never stops, the way it kept throbbing during the face-smash scene of Irreversible, and thereâ€™s no question that for Gasper Noe, hell on earth looks like a Eurotrash dance club. But maybe itâ€™s time he turned the volume down and stopped trying to turn the sins of Sodom and Gomorrah into the worldâ€™s most forbidden music video.