Gaspar Noé’s work has always been about losing control, but his latest films seem to get bracingly personal about it. He spoke with BilgeEbiri
Gaspar Noé directing Charlotte Gainsbourg on the set of Lux Aeterna Photo: Tom Kan Somehow, Gaspar Noé has returned. The controversial Franco-Argentine filmmaker is getting some of the best reviews of his career for his latest, Vortex, an impressively depressing split-screen drama about dementia and old age starring the Italian director Dario Argento and French actress Françoise Lebrun.
She worried about who would play her husband. She knew the name Dario Argento, but she hadn’t seen his movies, so I gave her his autobiography and some of his films. She comes from a very different family of cinema, but both of them are so intelligent that they managed to get along from the moment they met. They’re a very believable couple.
Françoise Lebrun and Alex Lutz in Vortex. Photo: Utopia How much of you is in the character of the son, Stéphane?For me, Stéphane is a kind of loser that I always have playing the main part in my movies. The character of Enter the Void is a loser who wants to be a winner by selling drugs and he gets busted and he gets shot.
So I stayed at my place watching movies on Blu-ray. I bought many through eBay. All these Japanese classics that I hadn’t seen. And then suddenly, COVID appeared, and everybody was hiding at home. There were no more parties, nothing. I was also told I should do some sports. I was on my bike going through the empty city during the day and watching DVDs at night. I don’t know if anything like that will ever come back to our lives.
It reminds me a bit of a movie that’s also very close to the ground, very human: A Separation by Farhadi. The scenes of the father, who has Alzheimer’s, escaping from the house and getting lost. I’ve been through similar situations with my mother. I would go to pour a drink or I would go to pee for 20 seconds and I’d say, “Don’t move from the table.” And I would go as fast as I could, and I would come back and my mother had disappeared. The whole day, no one would know where the fuck she was.
But in most cases, in my movies, it’s an induced loss of control. People want to lose control because they’re bored by their lives. But in this case, it’s a biological loss of control and it’s a very common one. The line about the epileptic seizures, it’s not about how bad a seizure can be, but it’s about how good it can be. It seems that there’s something enjoyable that I haven’t tried yet. If I could induce an epileptic crisis, probably I’ll just press a button, but it’s not so easy. I don’t know if anybody is going to have an epileptic seizure in a theater watching this movie, but I’ve seen many, many people hiding their eyes during the last five, ten minutes of the movie. I’m very proud of that.
I remember when we talked about Climax, you talked about how you shot it in February or something and then it was ready by May for Cannes. You’re making these movies faster and faster, it seems. Can people finally tell that the real rapist is in the background of that final scene, watching the beating?
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