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.
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A French drug dealer living in Tokyo is betrayed by his best friend and killed in a drug deal. His soul, observing the repercussions of his death, seeks resurrection.
Director:
Gaspar Noé
Stars:
Nathaniel Brown,
Paz de la Huerta,
Cyril Roy
A horse meat butcher's life and mind begins to breakdown as he lashes out against various factions of society while attempting to reconnect with his estranged daughter.
Director:
Gaspar Noé
Stars:
Philippe Nahon,
Blandine Lenoir,
Frankie Pain
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 grieving couple retreat to their cabin in the woods, hoping to repair their broken hearts and troubled marriage, but nature takes its course and things go from bad to worse.
Director:
Lars von Trier
Stars:
Willem Dafoe,
Charlotte Gainsbourg,
Storm Acheche Sahlstrøm
After a dreadful incident coupled with an ungovernable paroxysm of violence, a butcher will fall into a downward spiral that will burn to the ground whatever dignity still remained in him.
Director:
Gaspar Noé
Stars:
Philippe Nahon,
Blandine Lenoir,
Frankie Pain
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.
The continuation of Joe's sexually dictated life delves into the darker aspects of her adulthood, obsessions and what led to her being in Seligman's care.
Director:
Lars von Trier
Stars:
Charlotte Gainsbourg,
Stellan Skarsgård,
Willem Dafoe
Three teenagers live isolated, without leaving their house, because their over-protective parents say they can only leave when their dogtooth falls out.
Director:
Yorgos Lanthimos
Stars:
Christos Stergioglou,
Michele Valley,
Angeliki Papoulia
In World War II Italy, four fascist libertines round up nine adolescent boys and girls and subject them to one hundred and twenty days of physical, mental and sexual torture.
Director:
Pier Paolo Pasolini
Stars:
Paolo Bonacelli,
Laura Betti,
Giorgio Cataldi
Two violent young men take a mother, father, and son hostage in their vacation cabin and force them to play sadistic "games" with one another for their own amusement.
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
Denny Gibbons
La Queuleuleu
Written by Guy Lux (as G. Lux) and Gérard Tempesti (as G. Tempesti)
Performed by André Bézu (as Bézu)
Editions Master Music / Fil Rouge See more »
This film is ugly, brutal, depressing, visceral, and hopeless. The first time I saw it, I was devastated. I reeled for days afterwards. But seeing it a 2nd time, I didn't care for it as much, in fact, I feel I've been had. Its impact is really felt the first time you see it, because seeing it the 2nd time, you realise a lot of things about it that aren't particularly good. Most of the dialogue is poor (most of it was improvised, and not very well), the violence of the film is purposely over the top, and Noe the director seems to delight in showing nasty stuff without really bringing a sense of art to it. He enjoys rubbing your face in the sleazy, horrific violence, but has no purpose other than saying "life is brutal". I can't deny that the film did have a great impact upon first viewing, but too often when one's sense are assaulted (like they are here), you can mistake that for great, artistic film-making.
Technically, the film is astounding. It was shot mostly in long takes, but edited together with CGI effects (the smashing of the head in the gay bar at the beginning was done digitally, as part of the rape scene). It's definitely a curiosity, but realise what you're getting into. It's really not for the squeamish. The opening scene in the gay bar is dizzying and brutal, and the rape scene is beyond brutal. Noe films the rape scene in one take, which makes it even more difficult to watch. Is the film art? No, it isn't. Simply because the film polarized audiences doesn't make it art (a common assumption by people). Noe's films (he's only complete 2 features) aren't really deep or anything, just pessimistic and brutal.
A telling episode about Noe happened a year or so ago. The IFC Theater in NYC has a feature they do occasionally. They bring in a filmmaker to introduce a film they admire. Noe showed his first film, I Stand Alone, and Pasolini's Salo. After Noe's film concluded, he talked to the audience on why he wanted to show Salo. All he talked about was the coprophilia scenes (aka the s**t eating scenes). He didn't talk about anything else that Salo had to offer (in terms of its message on fascism, sexual perversion, the cinematography, the production design). Salo, or the 120 Days of Sodom is actually an excellent film. It's incredibly depressing and brutal, but has a real sense of art and is a genuinely controversial film, even to this day. Noe's films (he's made only 2) are not like this at all. Both I Stand Alone and Irreversible hit you in the face the first time you see them, but you shake it off, and Noe has nothing more to give you. This film has no resonance at all. It's just for shock value.
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This film is ugly, brutal, depressing, visceral, and hopeless. The first time I saw it, I was devastated. I reeled for days afterwards. But seeing it a 2nd time, I didn't care for it as much, in fact, I feel I've been had. Its impact is really felt the first time you see it, because seeing it the 2nd time, you realise a lot of things about it that aren't particularly good. Most of the dialogue is poor (most of it was improvised, and not very well), the violence of the film is purposely over the top, and Noe the director seems to delight in showing nasty stuff without really bringing a sense of art to it. He enjoys rubbing your face in the sleazy, horrific violence, but has no purpose other than saying "life is brutal". I can't deny that the film did have a great impact upon first viewing, but too often when one's sense are assaulted (like they are here), you can mistake that for great, artistic film-making.
Technically, the film is astounding. It was shot mostly in long takes, but edited together with CGI effects (the smashing of the head in the gay bar at the beginning was done digitally, as part of the rape scene). It's definitely a curiosity, but realise what you're getting into. It's really not for the squeamish. The opening scene in the gay bar is dizzying and brutal, and the rape scene is beyond brutal. Noe films the rape scene in one take, which makes it even more difficult to watch. Is the film art? No, it isn't. Simply because the film polarized audiences doesn't make it art (a common assumption by people). Noe's films (he's only complete 2 features) aren't really deep or anything, just pessimistic and brutal.
A telling episode about Noe happened a year or so ago. The IFC Theater in NYC has a feature they do occasionally. They bring in a filmmaker to introduce a film they admire. Noe showed his first film, I Stand Alone, and Pasolini's Salo. After Noe's film concluded, he talked to the audience on why he wanted to show Salo. All he talked about was the coprophilia scenes (aka the s**t eating scenes). He didn't talk about anything else that Salo had to offer (in terms of its message on fascism, sexual perversion, the cinematography, the production design). Salo, or the 120 Days of Sodom is actually an excellent film. It's incredibly depressing and brutal, but has a real sense of art and is a genuinely controversial film, even to this day. Noe's films (he's made only 2) are not like this at all. Both I Stand Alone and Irreversible hit you in the face the first time you see them, but you shake it off, and Noe has nothing more to give you. This film has no resonance at all. It's just for shock value.