Lux Aeterna

7 months after its premiere in Cannes (which I attended), I can't believe there is still no review of Lux Aeterna, so here is mine:

I think this film is admirable in many ways although not devoid of flaws, the main one being that for the nth time, Noé pulls the same expectable tricks with colorful lighting, flickering images and references to his classics (even just the title, "Lux Aeterna" is the György Ligeti eerie choir piece used in "2001: A Space Odyssey"), etc. So that does get a little unimaginative, especially since the atmosphere and development are very close to his latest long feature, "Climax".

That said, everything else is interesting. From the Dalle / Gainsbourg improvised dialogue (made hilarious by Dalle's very personal way of saying things - let's hope that won't get lost in translation) to the creative ways in which Noé uses the screen space. I couldn't stress this enough: *This Must Be Watched In A Movie Theater* ! Although I do enjoy smaller screens, I'm afraid a small screen won't cut it with this one. As usual with Noé, the experimental elements are present and the big screen is a must in order to enjoy them fully.

Many references are made throughout the film to Carl Dreyer's classic "Vredens Dag" from 1943, also using footage from it. It does serve a purpose but cannot really be discussed without spoiling.

I believe many interpretations of the film are possible. From mysogynistic to feminist. I'm definitely going with the latter. The end scene is intense in symbolism, deafening sound, flickering visuals and a creative use of the screen. If you suffer from epilepsy: STAY AWAY. As usual, Noé tries our patience and is into trying to shock us - but that's getting a bit old. Nothing gory though, so the faint of heart can watch. The camera flies from room to room as the crescendo builds up progressively until smothering hysteria. The film only lasts 50mn but it wouldn't necessarily have made more sense to make it any longer.

This is also definitely a film about film-making and how things go, on and off set. It's a film about actresses - how some can impose their strength or choose to go with what is asked of them.

This film will divide. Some will see it as arty, vaccuous and pointless. Others will find depth and meaning in it, but not necessarily the same meaning. I believe this is the best Noé film in a long time. Overall better than "Climax" or "Love". If you can get past Noé's antics, it is not only enjoyable, it is mostly an undeniable breath of fresh air in contemporary cinema.

This was a movie that when I saw it was from Gaspar Noé and coming to the Gateway Film Center, it had my attention. Reading through the synopsis and checking the genres, I thought that it could be horror or at least adjacent. It also featured Béatrice Dalle and Charlotte Gainsbourg, I was in.

What I should say next is that this isn't a horror film. It does have elements though. This movie is about making a movie. Dalle and Gainsbourg play themselves. The first part is them chatting about different movies and experiences they've been on. They are both in this production that is borrowing from Haxän, which is a documentary/dramatization of witchcraft throughout the ages. This moves into a surreal situation to end the movie as they film the scene with Gainsbourg, Abby Lee and another actor as they're 'burned' at the stake for the movie.

The movie has a feeling of dread. We see that the production of the movie is troubled. Dalle is the elder actor and she butts heads with the director who in turn wants her off the project. He takes this to the executive producer. We have a guy who is trying to pitch an idea of a role in his feature film debut to Gainsbourg and Lee. This annoys both as it is unprofessional. Gainsbourg learns a horrific thing might have happened to her daughter and she is torn what to do. The tension just builds until the climax. It is interesting as well since this runs 51 minutes.

This movie does get some of that Noé flair. He is a bit over the top at times, but I respect his style. The acting is natural as playing caricatures of themselves. The visuals here are amazing. That is the biggest take away for me. I enjoy the message we are conveying here both on the surface and underneath. This won't be for everyone though. This is arthouse. It is short, so keep that in mind. It is an interesting ride for sure.

My Rating: 8 out of 10.

First off, I'm quite a Gaspar Noé fan, and I have watched every movie since "I stand alone" - I liked every single one of them, and especially Climax really surprised me with how good it was.

This movie however leaves me with very mixed feelings. 90% of the movie consists dialog which is either meaningless or leaves alot of room for interpretation, but, in any case, wasn't very entertaining to watch. The other 10% make anyone familiar with Noé's work instantly recognize his trademark visuals. These 10% are really painful to watch, but not for the reasons you might expect from a "classic" Noé movie. In the end, the movie left me pretty unsatisfied. The visuals were pretty interesting at times, yes, and would have been perfect for a music video, but they don't save save the movie from feeling dull.

I would still recommend it for fans of this director, as it is definitely an unusual movie, just don't expect anything mindblowing or truly disturbing!

... though it may just get you twitching.

A number of patients in a high security psychiatric hospital decide to make a short film. Conscious of the fact that in medieval times they would most likely have been considered witches or warlocks, since their behaviour could only be interpreted as such during those times, they place the punishment for such behaviour at the centre of their creation.

Fortunately, as luck would have it, the split screen personality allows the viewer to gorge on twice as much pagan pantomime than would normally be recommend but, since this piece occupies slightly less than an hour, they just about get away with it, although that may depend on the medication you're currently prescribed.

You'll be pleased when the credits role, although it's unlikely you'll make it through to the end.

Possibly the film in which Gaspar Noé most clearly shows his concept of cinema. The shooting is hell, even more than the staging. The need to challenge the comfort of the viewer (in the images and in the narration) is again present, in the different points of view. His vision surrounds the campaign of a fashion brand with mystery, which continues with the short film "Summer of '21" (2020), starring Charlotte Rampling. Only a director like Gaspar Noé can turn witches into Yves Saint Laurent models. "Sexocide: the genocide of the witches".