Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.
A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits the town, she finds out that their support has a price. Yet her dangerous secret is never far away.
Events over the course of one traumatic night in Paris unfold in reverse-chronological order as the beautiful Alex is brutally raped and beaten by a stranger in the underpass. Her boyfriend and ex-lover take matters into their own hands by hiring two criminals to help them find the rapist so that they can exact revenge. A simultaneously beautiful and terrible examination of the destructive nature of cause and effect, and how time destroys everything.Written by
Three people fainted during the showing of the film at the 2002 Cannes Film Festival. See more »
When Alex walks down the stairs of the tunnel, the knot of her dress around her neck and her hairstyle change after the camera shows the sign "passage" and comes back to Alex's back. See more »
[dancing with Alex]
Say my name... Marcus... Marcus...
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The capital letter "E" is written backwards in the credits. See more »
The Hong Kong version is cut (despite being given a Category III rating, meaning under 18s are prohibited from watching this film) for nudity and sexual violence. Most genitalia is blurred or pixelated except for the digital penis. Alex's rape is butchered by 5 mins. Le Tenia rapes Alex and all of a sudden, he is lying beside her! See more »
Gaspar Noe's admiration for the late Stanley Kubrik is evident in most of this film. In fact, what is even more surprising is that a movie has been created from such thin material.
This is a film that depends on shocking its audience, as proven by the opening sequences. The credits are nightmarish, as are the scenes that show unrestrained violence perpetuated on the main characters. By confusing the spectator, Mr. Noe creates a suspense, as we all want to know what was the origin of such behavior. Most of this violence, I found, is a turnoff.
Mr. Noe is very clever in telling the story from the present to the past, as it certainly would have been a complete let down to see it in a chronological manner. If the director would have decided to do it differently, half of the theatre would have emptied because the last sections of the film are totally boring.
Did he need to have the scene in the Metro at all? How about the tunnel sequence? Did Mr. Noe have a need to show us in vivid detail what happens to a woman in a situation such as he presents it? Is it necessary to show Vincent Cassel with his 'thang' in full display? How about the disappearing genitalia in the leather bar? For that matter, how about the naked old man at the beginning of the story?
The advice to any would-be-swingers is: carry enough cash for a taxi, just in case the party sucks big time. Oh, and never go into an underpass anywhere in the world late at night, let alone a red tunnel.
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