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.
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
French dancers gather in a remote, empty school building to rehearse on a wintry night. The all-night celebration morphs into a hallucinatory nightmare when they learn their sangria is laced with LSD.
Director:
Gaspar Noé
Stars:
Sofia Boutella,
Romain Guillermic,
Souheila Yacoub
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 young American studying in Paris in 1968 strikes up a friendship with a French brother and sister. Set against the background of the '68 Paris student riots.
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.
Amidst the war climate, a teenage boy discovering himself becomes love-stricken by Malèna, a sensual woman living in a small, narrow-minded Italian town.
Director:
Giuseppe Tornatore
Stars:
Monica Bellucci,
Giuseppe Sulfaro,
Luciano Federico
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
The man bludgeoned to death was a mix of an actor in the first few stages which was then substituted with a latex head. Digital effects were added to make the transition more convincing. See more »
Goofs
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 »
Quotes
Marcus:
Who are you?
Mourad:
Who am I? Until proof of the contrary, I can be your best friend.
See more »
Crazy Credits
The capital letter "E" is written backwards in the credits. See more »
Alternate Versions
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 »
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 »
When his girlfriend Alex is brutally raped in an underpass, boyfriend Marcus and Alex's ex-boyfriend Pierre are approached by a couple of criminal types who claim to know who did it and lead Marcus on the path to revenge via hookers and a man in a brutal gay club known as the Rectum.
I shan't waste my time or yours by writing more of a plot to this film than that because this is all quite thin stuff. Normally I find myself gradually engaged by a film as it develops characters and stories however with Irréversible I was gripped immediately but the effect worked in reverse, just like the film. Others have asked why this film is told backwards, with some waxing lyrical about the film demonstrating the nature of actions and consequences. I don't buy this and I almost believe that the film is structured this way because Noé knows that his film is not good enough to engage the audience with the development of the story and characters to the point where they would still care by the end. Whereas, by starting with his biggest and most impacting sequences he has preventing the audience thinking "this is going nowhere" by putting us right where it is going to.
Of course what this means is that the film genuinely has nowhere to go to because the developmental issue is still there albeit the need to see roots rather than branches. With this there is nothing and I felt myself becoming more and more disappointed with the film as it went on as it seemed to offer nothing but missed potential. Unlike Memento (which was a thriller with the reason being to find out what caused the end), Irréversible's ending is an act of violence and revenge that, in essence occurs out of bad fortune rather than a series of events that are worth holding out for. With this in mind the focus comes more on the characters and their relationships to find a reason to make the impacting opening to the film feel that much more impacting. Sadly it does fall down and despite some interesting stuff that might have gone somewhere (if not to the actual crime), themes of sexual intimacy, differences in men and women and so on are just suggested but never delivered upon and my interest and respect for the film waned frighteningly quickly.
It is a terrible shame because the film had initially won me over quickly. With the first shots of spinning camera, "irrelevant" men and disorientating delivery I prepared myself to hate this film and slate it for being pretentious. This feeling didn't subside much as we were thrown into a gay club ending with an intensely brutal scene of violence that quite sickened me. The reason for this is almost the following scene where we see the beautiful and classy Alex brutally and meaninglessly sodomised on the floor of a dirty underpass for no other reason than being in the wrong place at the wrong time and the wrong sex. With my eyes at the time I found these scenes to be quite brilliant but finding out later there was nothing beyond them I take a dimmer view. In his defence, Noé's sequences should not be mentioned in the same breath as the recent Holly wood trend for torture porn because there is nothing erotic here. The rape scene in particular is disturbing, sickening and based on violence, certainly not sex, attraction or arousal. Some comments on IMDb have disturbed me and shown that some people will still "enjoy" these scenes one particular comment saying "fans of rape movie will appreciate" the sequence I felt was in particular poor taste. However for me it is as effective as it is unpleasant, Noé does not adopt the angles, style or nudity of pornography and indeed leaves the camera on the floor and lets the actors deliver an experience that is undeniably cruel and wrong. Viewers who chose to get off on that will do so however for those of us not stimulated by the violent degradation of another the effect will be harrowing.
The cast are good where they are caught up in things. Cassel is convincing in his revenge scenes but has less to work with in the later (earlier) scenes. Likewise Bellucci is amazing in her key scene; utterly convincing and heart-wrenching in her agony and I can only imagine how difficult it was for her to shoot. Dupontel is interesting but his performance would have benefited from going from innocence to violence and not the other way round. Prestia is a convincing human version of Satan, who is sickeningly real. Noé's direction is impressive even if his ability as writer is not. His camera earlier on matches the frantic violent mood of his characters but gradually calms down. Quite what he is saying with where the film goes or how it ends is beyond me but by then he had done sufficiently little to convince that I shouldn't worry myself too much.
Overall an impacting "experience" film that starts out with the potential to be a challenging and difficult art film. However with nothing past these scenes of significant value, the backward telling just seems like a way of having the "big" scenes before losing the audience, rather than afterwards and for all my appreciation and admiration for his intense and creative technique as director, I found Noé the writer to be lacking. In summary I'm not sure if I liked this or not or if it is worth seeing but it is certainly an experience that should be seen by those looking for a diverse taste of cinema whether it is "enjoyable" or not.
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When his girlfriend Alex is brutally raped in an underpass, boyfriend Marcus and Alex's ex-boyfriend Pierre are approached by a couple of criminal types who claim to know who did it and lead Marcus on the path to revenge via hookers and a man in a brutal gay club known as the Rectum.
I shan't waste my time or yours by writing more of a plot to this film than that because this is all quite thin stuff. Normally I find myself gradually engaged by a film as it develops characters and stories however with Irréversible I was gripped immediately but the effect worked in reverse, just like the film. Others have asked why this film is told backwards, with some waxing lyrical about the film demonstrating the nature of actions and consequences. I don't buy this and I almost believe that the film is structured this way because Noé knows that his film is not good enough to engage the audience with the development of the story and characters to the point where they would still care by the end. Whereas, by starting with his biggest and most impacting sequences he has preventing the audience thinking "this is going nowhere" by putting us right where it is going to.
Of course what this means is that the film genuinely has nowhere to go to because the developmental issue is still there albeit the need to see roots rather than branches. With this there is nothing and I felt myself becoming more and more disappointed with the film as it went on as it seemed to offer nothing but missed potential. Unlike Memento (which was a thriller with the reason being to find out what caused the end), Irréversible's ending is an act of violence and revenge that, in essence occurs out of bad fortune rather than a series of events that are worth holding out for. With this in mind the focus comes more on the characters and their relationships to find a reason to make the impacting opening to the film feel that much more impacting. Sadly it does fall down and despite some interesting stuff that might have gone somewhere (if not to the actual crime), themes of sexual intimacy, differences in men and women and so on are just suggested but never delivered upon and my interest and respect for the film waned frighteningly quickly.
It is a terrible shame because the film had initially won me over quickly. With the first shots of spinning camera, "irrelevant" men and disorientating delivery I prepared myself to hate this film and slate it for being pretentious. This feeling didn't subside much as we were thrown into a gay club ending with an intensely brutal scene of violence that quite sickened me. The reason for this is almost the following scene where we see the beautiful and classy Alex brutally and meaninglessly sodomised on the floor of a dirty underpass for no other reason than being in the wrong place at the wrong time and the wrong sex. With my eyes at the time I found these scenes to be quite brilliant but finding out later there was nothing beyond them I take a dimmer view. In his defence, Noé's sequences should not be mentioned in the same breath as the recent Holly wood trend for torture porn because there is nothing erotic here. The rape scene in particular is disturbing, sickening and based on violence, certainly not sex, attraction or arousal. Some comments on IMDb have disturbed me and shown that some people will still "enjoy" these scenes one particular comment saying "fans of rape movie will appreciate" the sequence I felt was in particular poor taste. However for me it is as effective as it is unpleasant, Noé does not adopt the angles, style or nudity of pornography and indeed leaves the camera on the floor and lets the actors deliver an experience that is undeniably cruel and wrong. Viewers who chose to get off on that will do so however for those of us not stimulated by the violent degradation of another the effect will be harrowing.
The cast are good where they are caught up in things. Cassel is convincing in his revenge scenes but has less to work with in the later (earlier) scenes. Likewise Bellucci is amazing in her key scene; utterly convincing and heart-wrenching in her agony and I can only imagine how difficult it was for her to shoot. Dupontel is interesting but his performance would have benefited from going from innocence to violence and not the other way round. Prestia is a convincing human version of Satan, who is sickeningly real. Noé's direction is impressive even if his ability as writer is not. His camera earlier on matches the frantic violent mood of his characters but gradually calms down. Quite what he is saying with where the film goes or how it ends is beyond me but by then he had done sufficiently little to convince that I shouldn't worry myself too much.
Overall an impacting "experience" film that starts out with the potential to be a challenging and difficult art film. However with nothing past these scenes of significant value, the backward telling just seems like a way of having the "big" scenes before losing the audience, rather than afterwards and for all my appreciation and admiration for his intense and creative technique as director, I found Noé the writer to be lacking. In summary I'm not sure if I liked this or not or if it is worth seeing but it is certainly an experience that should be seen by those looking for a diverse taste of cinema whether it is "enjoyable" or not.