Vortex

Even by Noe's standards, Vortex is truly unflinching and horrifically brutal, and does so without showing the sorts of extreme sexual and/or violent content that can often be found in his other films.

There's no real optimism or sentimentality. This film is just "getting old is horrible and here's what can happen" with no filter. The characters are similarly honest- Dario Argento's character is asked how his wife is. He bluntly replies "Not good." His character's son echoes a similar sentiment.

It takes a similar premise to 2012's Amour yet makes it even more impactful. It uses a bolder stylistic decision too, which I won't spoil here (I think it kind of works. It makes some moments extra devastating, but I couldn't always work out its explicit purpose on a scene to scene basis).

While it's definitely not a fun or fast-paced movie, 142 minutes passed by surprisingly quick, which I think speaks to how absorbing and well-acted it is. It may well be Gaspar Noe's best film so far.

Ok, so Gaspar Noe chose this story, a heartbreaking story on its own. But the fact that he himself had a life-threatening brain hemorrhage makes this film much more personal. And this somewhat unique approach (that feels a bit of a gimmick) to filming this family drama makes it all a layer deeper and more interesting.

I just can hope my parents don't go on the mental health issues route at an old age. I can hope that for everyone but for some it is inevitable. Right now I feel incapable of forming meaningful words regarding this film. It was interesting to see Dario Argento as a main character, he did a great job and he carried this movie.

All in all, it's still a very Gaspar Noe film in the sense that it makes you uncomfortable with such ease it turns into a horror movie.

A slow moving, disturbing, and emotionally powerful cinematic experience. Gaspar really doesn't disappoint, as this film packs some of the most potent performances in any of his previous films, Dario Argento, François Lebrun and Alex Lutz do a surprisingly amazing job performing. The split screen used in the film's visuals are wonderfully implemented with a clear artistic purpose, the film is incredibly well shot and though the pacing is very slow it never feels dull whatsoever. The disturbing moments are much more subtle and quiet when compared to Noe's previous works, though their subtlety doesn't hinder these moments whatsoever. The dialogue is wonderful, every bit of human drama between these characters feels like it was ripped right out of reality with how raw every second is, at points it feels like I'm watching a documentary rather than a drama.

My main issues lie with the film's narrative feeling a little scatter-brained and random, a few plot threads feel picked up and dropped without much development and though I appreciate the use of empty scenes that feel like nothingness as a way to illustrate how our lives are made up of 50% nothingness, there's a point where those additions aren't needed anymore.

I knew nothing at all about this film going in, and you should know nothing as well. This gift of a film screened and my local film festival (FNC 2021) followed by a late night screening of "LVX ÆTERNA", and "VORTEX" was definitely my favorite of the two. My friend who told me the festival also said that Gaspar Noé's last film would be screening and it triggered a "Vietnam flashback" to my first experience watching "CLIMAX", with psychedelic visual and a killer soundtrack, and I'm not going to lie that was what I was expecting from VORTEX. However, Gaspar presented us with a quiet, contemplative piece of cinema that I believe is nothing less than a love-letter to cinema and filmmaking itself. Bravo Gaspar!

Françoise Lebrun delivers an outstanding and unforgettable portrayal as Elle, a lady in her senior years struck down with dementia and living in a world that's alien, confusing, bewildering and extremely dangerous. So convincing is her presentation that you spend most of the film half believing that she must genuinely be suffering, that this is a documentary, a fly on the wall observation. Similarly, Dario Argento fulfils the role of the loving but ever so slightly irritated grumpy old man, wishing to get on with his life while more often than not, turning a blind eye to his wife's descent, knowing only too well the consequences once others take control of the situation.

This film recognises what most people have gone through, or will go through, either directly or as close witnesses. Filmed in an imaginative style by the progressive Gaspar Noé, my only complaint is that I was extremely keen for the end to arrive as it outstayed its welcome by around 30 minutes and, as such, I'm unlikely to revisit it again any time soon.