Provocateur director Gaspar Noé has put a waking nightmare on screen with his newest movie Climax. The film is unsettling, nauseating, confusing, and, in the end, a singular viewing experience that only Noé could unleash upon the world. The director responsible for the equally singular Enter the Void – which I revisited as the second part of a double feature with Climax, a night I won’t soon forget – uses nihilism the way Bob Ross used happy little trees, often and with great satisfaction. There is no lesson to be learned here. Climax isn’t exploring any deeper truths about the human condition. Noé’s only goal seems to be to shock and disorient his audience. In that way, Climax is a complete success.
Viewing entries in
I’m blaming screenwriter David Kajganich for Suspiria’s biggest failures as a remake of a cult classic. I caught up with the original – Dario Argento’s bonkers Italian giallo horror film from 1977 – almost a year ago. That film overwhelmed my senses in the best possible way. The hallucinatory color palette, grand guignol-style gore, and seminal score from prog-rock band Goblin collaborated to give me an unforgettable experience.
Director Luca Guadagnino’s 2018 remake is too concerned with making the movie about something.
It would be reductive of me to call Yorgos Lanthimos the new Stanley Kubrick. The Greek director responsible for the provocative films Dogtooth, Alps, and my initiation into his twisted imagination, The Lobster, is nothing if not a unique talent. Still, there are certain undeniable Kubrickian flourishes in his new film, The Killing of a Sacred Deer. Chief among them are a penchant for inserting nihilistic black comedy in otherwise bleak subject matter, and his facility with patient, beautiful camera movement and framing. Sacred Deer is one of the most challenging, most disturbing films I’ve seen this year.
If you want to find the most polarizing film of 2017, look no further than Darren Aronofsky’s baroque experiment in psychological horror, mother! (which after this point, I’ll refer to simply as Mother). This is a movie that’s impact I suspect will diminish on a second viewing. Unlocking the secret at Mother’s core, which will probably come at a slightly different point for just about everyone seeing it, robs it of some of its power. Aronofsky has made pure allegory here, using an extreme dream-logic aesthetic that is nothing if not simultaneously hypnotic and terrifying.