Vortex

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.

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.

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.

Well, I've been thinking about this one for a week or so. It's an incredibly special film and, to my knowledge, a very singular one. I've never seen such a realistic death-focused movie in my life. Though it has Gaspar Noe's signature bleakness, it is completely unlike everything else he's made, and feels much more humble. Though he's mentioned the correlation in interviews, it feels very clear that his own near-death experience (brain hemorrhaging a couple years back) shifted his heart in a sense. This is easily Noe's most heartfelt film.

Of course, this film is NOT for everyone. Aside from the bleakness of the experience itself, it also runs in what feels like real-time. Even for me, there were segments that were challenging to stay with because they were so slow, but in the end, it's all made with such great intent and vision that I think I might appreciate some of those sluggish scenes even more upon a second viewing. I mean, of COURSE it's slow, you are living in the shoes of an old married couple in their 80's during the last few months of their life!

I don't think I have ever seen a split screen implemented so effectively in a movie. I often found myself fascinated by the fact that when you have two ultra slow sequences occurring in each of the split screens, it adds up to one perfectly "normally" paced experience. And, all I will say is that, the split screen seems to take on more and more artistic purpose as the film goes on.

The acting performances from both leads are absolutely astonishing. As a diehard fan of Dario Argento's entire cinematic universe for the last 20 years, I have never seen him act in anything and had no idea what to expect from him in Vortex. He pretty much blew my mind - what he brings to the film is more warm and endearing than anything - in fact it is one of the most touching performances I have seen in years. Of course, this all leads to a high level of effectiveness when it comes time for his character to focus on what is the opposite of such light feelings. It comes as no surprise that the Italian maestro of murder cinema is capable of one of the most believable portrayals of death-centric scenarios when he's placed in front of the camera. This has truly brought the Argento legacy to a whole other level. And then we have the incredible Francoise Lebrun who truly makes the whole movie what it is - her portrayal of dementia is just beyond. It does not feel like you are watching a movie - it truly feels like you are LIVING in the realm of the real thing. It is hard to put into words beyond that. She deserves the highest of accolades.

There is so much to say about this film but I will leave it at that. Gaspar's genius seems to know No(e) bounds. It is definitely some form of masterpiece - the only reason I am giving it 9 instead of 10 is because it is simply not FUN to watch - it's grueling, of course! I hope that Noe has at least a couple more up his sleeve. I will watch his films until he himself is gone! Everything he makes!

Unlike Noe's previous films, Vortex is an understated, slow-paced, intimate character piece. Who knew that Dario Argento could give such a brilliant performance? And Francoise Lebrun... just wow. The rest of the cast are fine in their roles as well, but this is a movie about two characters, and they were cast perfectly. Where the movie really struggles, however, is in its pacing and editing. It is simply 30-40 minutes too long. Scenes drag on endlessly. There can be a hypnotic quality to some of the mundane scenes, but not enough to justify the drag. A tighter edit would have made a difference. Perhaps one of these days we will get a director's cut that re-edits the movie and makes it a bit tighter overall. However, there is a lot to appreciate in the film. It is worth seeing for the acting performances alone. It takes on an important topic and handles it gracefully. It shows that the director is a versatile craftsman who is not afraid of breaking the mold and taking risks that mostly pay off.