Once you reach the end of the movie, if you haven’t walked out by then, you receive the gift of being sujected to an eight minute shot of a man anally raping the main female character Monica Bellucci. This where I stopped watching.
Even with Gaspar Noé bombarding you with every visually disgusting image and ear numbing sound wave some people have managed to sit through the complete 97 minutes. Even more surprising to many, are the ones who return for a second or third viewing of the film:
“..while viewers will no doubt continue to walk out, Noé maintains there are others for whom the film becomes an “obsession”, continually returning to it, looking for something new.” – Brian Pendreigh interviewing Noé for iofilm
Many critics will bring out plausable theories on Gaspar Noé’s work citing most obviously that Gaspar Noé does what he does to gain attention; the more controversial he is, the more press he will attain. This need to shock is, at its heart, a way of becoming known they will say. It is a way to have a successful career as a film maker. But they would be incorrect. Gaspar Noé makes films to see if the men he thinks we are, are not the men we actually are. If he can offend us enough, perhaps he will find what he is looking for, a humanity who finds his style of entertainment not worth watching; finds his views on the world to be incorrect, finds that the thoughts and actions he depicts in his films are rare at best and not worthy of the time and effort it takes to create them. If Gaspar Noé succeeds in his quest to have “an audience of zero” then perhaps, just perhaps, he will have to change his view on what humanity actually is. For every Andres Serrano’s Piss Christ there is a Steve McCurry’s Afghan Girl, for every Gunther von Hagens Body Worlds there is a Michelangelo’s David, let’s see if Gaspar Noé will ever transform from the former into the latter.
Gaspar Noé Filmography
- Tintarella di luna
- Pulpe amère