Provocative directors Gaspar Noé and Michael Haneke both show respect to their elderly protagonists by capturing their pain — and their love.
Vortex is being praised as Gaspar Noé’s most humanist film to date. At first glance, that seems to say more about his other movies than this one. Vortex doesn’t have anything as agonizing as Irréversible’s infamous, 10-minute rape scene — very few movies do — and while Noé once again shows off some camera trickery, he’s not using it to assault the senses as he did in Enter the Void.
But things work differently in Vortex. The big conceit, comparable to Irréversible’s backwards narrative or Climax’s dazzling dance sequences, is the split screen that separates the two main characters. It crawls down the screen between them while they sleep, and for the rest of the film one camera is trained on Father and the other on Mother .
But although some have doubted whether Haneke has a heart, Amour is the only evidence anyone needs. This is not to say that it’s too sentimental, of course: it deals frankly with the pain and indignity of old age, and Haneke’s direction is as chilly and severe as ever. Still, no relationship in a Haneke movie is more moving than the marriage between Georges and Anne .
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