Вихрь (Vortex)

[empathy]

[секция cannes premiere

каннского фестиваля]

Год 2021

Страна Франция, Бельгия, Монако

Жанр драма

Время 02:20

Премьера 16 июля 2021, Канны

Режиссура Гаспар Ноэ

Сценарий Гаспар Ноэ

Оператор Бенуа Деби

В главных ролях

Дарио Ардженто · Франсуаза Лебрун · Алекс Лутц

Описание

Квазидокументальный фильм о последних днях

любящей пожилой пары, пораженной возрастом и деменцией.

vBulletin [media]

Изменено 08.02.2022 01:53 пользователем empathy

[KoreanGringo]

2 часа!*?!? Ноэ, ау.

[empathy]

theguardian: 5/5

What Noe fans will make of this one is anyone’s guess, although one hopes that they’ll recognise it as a logical next step: the next big subject to tackle. In its way it’s just as scary as the stroboscopic fancies of old; a pitch-black midnight movie that makes much of the official Cannes competition look tame by comparison. Vortex is deliberate, pitiless and perfectly acted in a loose, improvisational style. It’s a film that goes out not with a bang but a whisper: with the shuffle of slippers, the creak of floorboards and the rasp of oblivious snores from the bed. Mother and Father are together but alone, each on their own journey, each confined to their own oblong frame. But midway through, sitting at the kitchen table, the woman asks her husband for comfort and he reaches convulsively for her hand, briefly breaking the thin black border that divides them. It’s not much but it helps, the most anybody can ask for, a moment of connection before we all say goodnight.

thr

There’s an extraordinary scene in the film’s second half, in which Lebrun has a moment of lucidity and her husband and son talk about how they should organize their small family’s future. It’s heartbreaking to watch all three struggle to face the dire reality that things simply can’t continue like this and that there’s no way they’ll return to how they were before. Argento’s character is stubborn and refuses to leave their apartment, even though an assisted living facility would be better suited to their situation, and Lebrun’s character whispers, without vanity or a hint of self-pity, that maybe it would be easier if she died, or if they got rid of her. To underline this unusual moment of near-togetherness as a family, the two camera axes are very closely but not quite aligned, with Lebrun at one point leaning backwards into the couch and suddenly appearing with her head in both images like a Janus figure, suggesting the impossible duality of the choice in front of them.

The hushed closing reels are unusual in Noe’s oeuvre in that they generate straightforward empathy and emotion without falling back on gimmicks, trickery or shock tactics. It feels like a more mature Noe has arrived, one who stays calmer and is less manipulative than Haneke was in Amour but with a similarly impactful ending. The handful of traces of the more emphatically on-the-nose filmmaker almost help to underline how reined in everything else really is.

nytimes interview:

You’ve been carrying around the idea for “Vortex” for a long time. How different would it have been if you made it years ago?

 

Two years ago, I wouldn’t have done it with the split screen. For example, I really liked the movie “The Father,” but it’s a theater play, it’s very artificial. I said, “Well, I’m not going to do something like that movie. Let’s try to do something that could be playful in its form.” Then I found this concept of shooting the movie with two cameras, and each camera is following one of the characters as if their lives were both complementary and separate. It’s a story of two tunnels of life.

Dario Argento is better known as a film director, and he has never led a movie as an actor. How did you convince him?

 

When I started preparing this movie, he was my very first idea, but I didn’t know if he would accept or not. And so one morning, I met him at his place, I came with this 10-page script and we watched “Love” together, which was probably not a good idea. I was asking him to be in a serious movie and the same time, we were watching this erotic movie I made. In the morning! But finally, he accepted on one condition. He said, “Oh, I’d like the character to have a mistress.” I said, “Of course.” I like making movies with people who own their character and their dialogue.

You’re really asking Argento and Francoise Lebrun to confront the end of their lives by playing these characters. Was that difficult for them?

 

When I see them, they’re not afraid of death. They’re afraid of not being fun! They’re very playful, and neither of them are anguished people. It seems the moment you’re born, you’re aware of the void you’re standing on. But in their cases, they have all this future life in front of them that they want to play with, even if it’s not long. And movies are a game.

People at Cannes have been comparing “Vortex” to Michael Haneke’s “Amour.” Would you agree?

 

You know what? Haneke didn’t invent senility. He didn’t invent age. I was very touched when I saw “Amour.” My mother was in the process of dying, and I think I never cried more in a dark theater than when I saw that movie. But I would have made this movie even if “Amour” hadn’t existed.

[Betty Boo]

Сайт КП прислал оповещение, спасибо ему, что ожидаемый мною фильм уже вышел.

Ноэ, судя по рецензии на сайте и этой ветке, снова снял фильм для меня)). Он будет тяжелым, но честным. В к-т не пойду, мне кажется, там не очень удобно наблюдать за двумя экранами в одном.

Ханековский Амур тоже пока не смотрела, потому что представляю, насколько он тяжелый. Смотреть эти два сейчас не самое подходящее время, по той же причине, что и у Ноэ была.. , получится реальность в кубе, ох.

Изменено 22.10.2022 23:51 пользователем Betty Boo

[Coimbra]

Приятный фильм.

У входа в пустоту: Алексей Гусев о «Вихре» Гаспара Ноэ.

В «Феноменах» Дарио Ардженто главная героиня была наделена паранормальной способностью — она умела общаться с насекомыми, которые, в свою очередь, приводили ее к спрятанным мертвым телам. «Знаете ли вы, — говорил ей всеведущий профессор, — что в древней Греции это насекомое называлось так же, как душа, — psych (психея)?» Именно так — “Psych” — называется книга, которую пишет главный герой «Вихря», сыгранный Дарио Ардженто. И если стук по клавишам уравнен режиссером с блужданиями героини, то это еще и потому, что герой словно бы пытается описать, как и почему камера в соседней половине экрана видит не столько старую женщину, ходящую по универмагу, сколько душу человеческую, пребывающую во сне жизни. Само движение камеры в кино, невидной и вездесущей, понято ими обоими — и Ноэ, и его кумиром (и отчасти наставником) Ардженто — как насекомый полет души, влекомой к смерти, как к свету (в этом смысле белизна простыни здесь неотличима, к примеру, от белизны снега в финале «Экстаза»: обе суть белизна экрана, обнажающаяся по окончании сеанса).