What about Gaspar Noe’s upcoming “Vortex”!?
To tell a story is to bend the curvature of cinematic time, make art with echoes, and destroy formulas to create new ones. Those have always been Noe’s Rules of Filmmaking. Enter The Void’s Director is returning to the world of cinema with a new, astonishing work of art.
Vortex (2022) primary Information
Vortex is a film written and directed by Argentinian-French filmmaker Gaspar Noe; it is already featured in France, the USA, and other countries, strictly in Festivals. The film’s cinematography is by Noe’s dearest friend and mechanical eye “Benoît Debie” the cinematographer responsible for “Enter The Void” (2009), “Irreversible” (2002), and many more. The film’s production varies from national individuals to multi-international companies. Noe’s actors' choices were a surprise this year, with Dario Argento, Alex Lutz, and the infamous Francoise Lebrun being the main hero of the project. In a very vague, non-spoiled summary, the film is about an old retired psychiatrist who has dementia with his wife, an author suffering from a severe heart condition and living in an apartment. I managed to take a look at pre-released footage from the film, and Vortex holds some exciting “styles,” “Screenplay,” and “Rhythm” that Noe has never performed before. We will talk about the “Only Concept wise” in this article.
A Memory of a Film on Acid
To talk about Vortex, we need a little bit of a backstory. Noe is not the best person to have a friendly movie night with. His films showcase what people call “Weirdness” or “Savagery,” with critics even describing him as “Tarantino’s psycho twin.” In terms of Narration, Noe’s style is neither linear nor parallel; it is somehow in between. French-Italian-Slavic Neo-realism inspires this specific style; his work is affected hugely by “Pier Paolo Pasolini,” “Jean Luc Godard,” and even “Jonas Mekas,” but can still hold the value of the “South American” Cinema, not visually but narratively. Love and sex are always a part of a classical Gaspar Noe Film, but they are twisted and manipulated; Noe does not believe in Love; he believes in Desire, and with Desire, in his words, comes trouble. There’s somewhat of an “Ex-Girlfriend” relationship between Noe’s vision and “Drugs,” as we saw, of course, in entering the Void, but also in all of his films, Narcotics are a character, not just something irrelevant. A Gaspar Noe’s film has to have Drugs as a character. Drugs help Noe establish a dogmatic experience with the Narration and the camera, making it reasonable. In Vortex, Noe extends his visions beyond the classical narration; he enters another dimension; he isn’t simply talking about power, but rhythm, life as a spectrum of events, and the reflection of those events in our last days as humans. Sure thing that art holds inevitable value, but Death has all matters, and when we get closer to death, we get closer to ourselves. The one main difference in the making of this film is that Noe used to objectify being “Young,” the problems of Youth, and his twisted cinematic style comes to life as some burst of hormones; that’s why almost all of his movies the camera is a moving beast. But, in Vortex, Noe is talking about Age as a concept of identity; he is, on a rare occasion, talking about the elderly. He is spitting the contents of an old couple’s brain into a visual medium. And believe me, it is incredible to see, following his disturbing and well-made film “Climax” (2018).
Life is a dream, isn’t it?
Vortex digs deep into humanity; it is an experiment rather than a film, an ongoing battle with consciousness. It tells the story of people who forgot to tell their stories. It is not about love, life, or dreams, and it is about all of them combined in a container, “A dream within a dream,” as the main character “The Father” says. It is a slow, heart-warming, and sad film. Why is it a tragic film? Noe wants it to be unhappy; he wants “Vortex” to be not a message, but a vision, of what will inevitably happen to us. It is a voyage in time, with a narrator telling us about the shape of time and why it is irrelevant yet so beautifully made.
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