Irréversible (2002)

Director:

Gaspar Noé

Writer:

Gaspar Noé

Release Date:

22 May 2002 (France)

Genre:

Crime | Drama | Mystery | Thriller

Tagline:

Le temps détruit tout - Time destroys everything

Plot:

Events over the course of one traumatic night in Paris unfold in reverse-chronological order as the beautiful Alex is brutally raped and beaten by a stranger in the underpass.

Plot Keywords:

Underpass | Night | Revenge | Rapist | Breaking An Arm

Awards:

2 wins & 5 nominations

Cast

Monica Bellucci	...	Alex (as Bellucci)
Vincent Cassel	...	Marcus (as Cassel)
Albert Dupontel	...	Pierre (as Dupontel)
Jo Prestia	...	Le Tenia (as Prestia)
Philippe Nahon	...	L'homme (as Nahon)
Stéphane Drouot	...	Stéphane (as Drouot)
Jean-Louis Costes	...	Fistman (as Costes)
Michel Gondoin	...	Mick (as Gondouin)
Mourad Khima	...	Mourad (as Khima)
Hellal	...	Layde
Nato	...	Commissaire
Fesche	...	Chauffeur Taxi
Jara-Millo	...	Concha (as Jaramillo)
Le Quellec	...	Inspecteur
Giami	...	Isabelle
Fatima Adoum	...	Fatima (as Adoum)
Foulaux	...	Janice
rest of cast listed alphabetically:
Stéphane Derdérian	...	Client du Rectum (uncredited)
Christophe Lemaire	...	Le danseur avec la chemise hawaïenne (uncredited)
Eric Moreau	...	Extra (uncredited)
Gaspar Noé	...	Client du Rectum (uncredited)
Titof	...	Le mec sur le lit à la fête (uncredited)

Directed by
Gaspar Noé

Writing credits (in alphabetical order)
Gaspar Noé

Produced by
Vincent Cassel	....	co-producer
Brahim Chioua	....	co-producer
Emmanuel Gateau	....	consulting producer
Richard Grandpierre	....	co-producer
Gaspar Noé	....	co-producer
Christophe Rossignon	....	producer

Original Music by
Thomas Bangalter

Cinematography by
Benoît Debie
Gaspar Noé

Film Editing by
Gaspar Noé

Casting by
Jacques Grant

Production Design by
Alain Juteau

Costume Design by
Laure Culkovic

Makeup Department
Pierre Chavialle	....	hair stylist
Jean-Christophe Spadaccini	....	special makeup effects artist
Ghislaine Tortereau	....	hair stylist

Production Management
Serge Catoire	....	production manager
Eric Chabot	....	unit production manager
Virginia Lombardo	....	unit manager
Ève Machuel	....	production manager

Second Unit Director or Assistant Director
Stéphane Derdérian	....	first assistant director
Olivier Théry-Lapiney	....	first assistant director

Art Department
Sandra Castello	....	assistant art director
Pascal Gras	....	carpenter
Nicolas Javel	....	assistant art director

Sound Department
Jean-Luc Audy	....	sound
Xavier Bonneyrat	....	assistant sound editor
Marc Boucrot	....	sound
Olivier Busson	....	boom operator
Vincent Cosson	....	sound mix technician
Valérie Deloof	....	sound
Cyril Holtz	....	sound re-recording mixer
François Lepeuple	....	foley artist

Visual Effects by
Rodolphe Chabrier	....	visual effects supervisor
Xavier Fourmond	....	digital compositor
Stéphanie Machuret	....	senior digital compositor: Mac Guff Ligne
Christophe Richard	....	digital artist
Isabelle Roussel	....	digital compositor
Eric Vidal	....	compositor

Camera and Electrical Department
Kamel Belaïd	....	electrician
David Campbell	....	crane operator: Super Technocrane
Eric Catelan	....	Steadicam operator
Benoît Debie	....	lighting designer
Denis Gaubert	....	assistant camera: second unit
Jérôme Mauduit	....	assistant camera: second unit
Antoine Rabaté	....	assistant camera
Sébastien Saadoun	....	assistant camera
Mathieu Szpiro	....	gaffer

Casting Department
Omri Ben Canaan	....	extras casting

Other crew
Peter Block	....	acquisitions executive
Marielle Duigou	....	production assistant
Virginia Lombardo	....	assistant location manager

Production Companies

• 120 Films
• Eskwad
• Grandpierre
• Les Cinémas de la Zone
• Nord-Ouest Productions
• Rossignon
• Studio Canal

Distributors

• Mars Distribution (2002) (France) (theatrical)
• Accent Film Entertainment (2004) (Australia) (theatrical)
• Alamode Film (2003) (Germany) (theatrical)
• Alliance Atlantis Communications (2002) (Canada) (theatrical)
• Atlantis Entertainment (2003) (Czechoslovakia) (theatrical)
• BIM Distribuzione (2002) (Italy) (theatrical)
• Comstock (2003) (Japan) (theatrical)
• Distribution Company (2003) (Argentina) (theatrical)
• Frenetic Films (2002) (Switzerland) (theatrical)
• Lions Gate Films (2003) (USA) (theatrical) (subtitled)
• Metro Tartan Distribution Ltd. (2003) (UK) (theatrical)
• Muse Productions (2002) (USA) (theatrical)
• Paradiso Entertainment (2002) (Netherlands) (theatrical)
• Accent Film Entertainment (2004) (Australia) (DVD)
• Argentina Video Home (Argentina) (DVD)
• Argentina Video Home (Argentina) (VHS)
• Europa Filmes (2004) (Brazil) (DVD)
• Legend Films International (2003) (Germany) (all media) (rights)
• Lions Gate Films Home Entertainment (2003) (USA) (DVD)
• Palisades Tartan (2009) (UK) (all media)
• Paradiso Home Entertainment (2002) (Netherlands) (DVD) (VHS)
• Tartan Video (2003) (UK) (DVD)
• Universum Film (UFA) (2004) (Germany) (DVD)
• Universum Film (UFA) (2004) (Germany) (VHS)
• Warner Home Video (2003) (Switzerland) (DVD)

Also Known As:

"Irreversible" - International (English title), USA
"Irreversible" - Argentina, Peru, Spain
"Irreversível" - Brazil, Portugal (imdb display title)
"Irreversibel" - Austria (DVD title), Germany
"Μη Αναστρέψιμος" - Greece
"Необратимость" - Russia
"Alex" - Japan (English title)
"Dönüs yok" - Turkey (Turkish title)
"Irreversible" - Norway
"Irreversible" - Sweden (imdb display title)
"Irreversible - syntiset" - Finland
"Mi anastrepsimos" - Greece (transliterated ISO-LATIN-1 title)
"Nepovratno" - Serbia (imdb display title)
"Nepovratno" - Croatia (imdb display title)
"Nieodwracalne" - Poland
"Visszafordíthatatlan" - Hungary

Runtime:

97 min | Canada:99 min (Toronto International Film Festival)

Country:

France

Language:

French | Spanish | Italian | English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS | Dolby Digital

Certification:

Portugal:M/18 | Peru:18 | Argentina:18 | Brazil:18 | Iceland:16 | Canada:18+ (Québec) | Canada:R (Alberta/British Columbia/Manitoba/Nova Scotia/Ontario) | Sweden:18 (video rating) | Sweden:15 | Mexico:C | USA:Not Rated | Malaysia:(Banned) | Australia:R | Austria:18 | Denmark:15 | Finland:K-18 | France:-16 | Germany:18 | Hong Kong:III (cut) | Ireland:18 | Italy:VM18 | Japan:R-18 | Netherlands:16 | New Zealand:R18 (with restriction) | Norway:18 | Singapore:R(A) (original rating) | Singapore:R21 (re-rating) | South Korea:18 | Spain:18 | UK:18

Filming Locations:

Buttes Chaumont, Paris 19, Paris, France

Company:

120 Films

Trivia:

The entire film was shot on Super 16, telecined to high-def video for color tweaking and editing, and then exported to Super 35. For many of the handheld shots, the director used the smallest existing 16mm camera, the Minima.

Goofs:

Continuity: When Alex walks down the stairs of the tunnel, the knot of her dress around her neck and her hairstyle change after the camera shows the sign "passage" and comes back to Alex's back.

Quotes:

[First lines]
Philippe:You want me to say it? Time destroys everything.

Movie Connections:

Featured in "John Waters Presents Movies That Will Corrupt You: Irreversible (#1.13)" (????)

Soundtrack:

Symphony No. 9 in D Major - Adagio

Today I'm dirty, tomorrow just dirt - Time, deeds, man

Argentinian born French film maker Gaspar Noé is already one of the most important and powerful film makers of all time. His 1998 debut feature film Seul Contre Tous is an unforgettably merciless but also so uniquely rewarding depiction of rotten society with even more rotten human beings that inhabit it with their selfishness and potential to violence and revenge - those things that everyone feels sometimes, more or less often, and things that only create more of them when not kept inactive and off. The last 15 minutes of Seul Contre Tous include some of the most unimaginably brilliant editing and camerawork (including a body-mounted camera and clever communication/estranging with the unsuspecting audience) not to speak of the soundtrack, which force us to see the truth about ourselves and things around us. Those mentioned elements are also the same that stamp the work of Japanese film maker Shinya Tsukamoto (Tetsuo in 1988, Gemini in 1999) who is also a friend of Noé. These two directors do most of the important parts of their film making themselves (camera operating, editing, directing, writing..) and both have the talent to smash the viewer straight to the face and force him and her to think and even change towards something better. Now Noé has even surpassed his power and moment of total breathlessness of Seul Contre Tous with his 2002 film Irréversible, a masterpiece that has the same ability to change people's lives and attitudes towards a better world, but with the kind of power of imagery and soundtrack that only few, unfortunately, as films like these deserved more attention and respect, are willing to accept and understand.

Alex (Monica Bellucci), Marcus (Vincent Cassel) and Pierre (Albert Dupontel) are three French friends who live peacefully and also in love, as Alex and Marcus are together and love each other genuinely. Alex has also been with Pierre but their thing didn't work and now they are only friends and all three get along more than well. Comes a weekend night and time to go to have some fun with more friends. Then, as some alcohol and drugs are involved, comes some arguing with the lovers and Alex decides to go home to sleep and leave her drunken boyfriend to dance alone. Unfortunately for all (but fortunately for the real ill world and audience for whom this film with its message is made for) she meets the most evil thing ever possible to live inside the flesh and bones of human being and a terrible rape takes place. How does man with his instincts react when he learns something terrible and violent has happened to his loved one and there's also a possibility to get to know who did it? Revenge is a human need has the mighty director said and the man's potential for mindless violence, lack of moral and willing to take revenge are the main themes of this important film and it all is told with so much genius and unique elements the film already belongs to the list of the unmatched and the films that managed to make and achieve something for the first time in the history.

The film is told backwards so that we'd see even clearlier what results from what and then we are forced to ask ourselves why, which requires to look inside our own heads and souls and look into the mirror. The film begins with the most infernal 20 minutes of the whole movie history and culminates to the most graphically violent and mentally and physically shocking sequence ever created that leaves no questions for what is the real nature of violence, and thus revenge, like. The incredible colors, lights and darkness of the beginning are already something very powerful and unique, but are accompanied even further by truly incredible usage and movements of camera as it twists and shakes in agony of forthcoming and present terror for the whole beginning of the film. The film has only 19 or so parts/scenes as it's told without single edits inside the parts. The form is very convincing and unconventional and naturally makes it even more realistic and easy to connect to our own world. Those who blame the disturbingly strobing, pounding and restless (sonic) imagery of the beginning don't know how much camera is in cinema and how a talented maker can use it, depict and show with it. It is Hell we're witnessing at the beginning of Irréversible so why would've Noé made it look peaceful, calm and harmless as it's all really bad and wicked even and especially for those who support it as we soon learn at the Rectum finale. It is Hell that can be found anywhere where humans live, be and do deeds together and to one another.

Noé's camerawork is definitely something very difficult to imagine to be created and the director has said in interviews that there were indeed some segments (mostly the party sequence) when he thought he'd become crazy as it all was so difficult to do and keep in control. The camera is not so wild and restless after the beginning as there isn't even a reason for that, again an example of what does camera mean in cinema and how it must be used without being gratuitous or meaningless. The crane shots of the beginning of the story but the ending of the film are also breathtaking and hypnotic and also show for one last time what is another key element of (the) film alongside the imagery: the soundtrack and music, sounds and voices of the film. The soundtrack consists of menacing, pounding and with one word infernal sounds and also electric music, but those waves are the ones that are not likely to be found from any other film. The sounds make the happenings of the screen look like how they are inside the film and how they would be if and when something like that happened in real life. Never have I experienced and heard the soundtrack strengtening the images as it does in Irréversible. I had one of the year 2002's greatest and unforgettable moments when I saw the film on big screen, which it demands, and I will never forget the feelings I had during the opening of the film, and after I had read about the elements and creating of the soundtrack, I understood even more about the uneasiness of myself and the audience as well as the genius of its creator. If one decides not to agree with Noé about the anti-violent message of the film, he will be smashed numb in front of the images and sounds whether he wanted it or not.

The point of the unspeakable violence of the film is to make it look and feel as bad and irreversible as in real world too. When the revenge takes place and we experience something extremely ugly and both physically and mentally painful Noé forces us to see the things that the avenging minds don't see, at least in time, how violence always requires more of it as human beings are pretty much the same animal and we all share these instincts and potential which still could and can be fought against. The revenge and its destroying face comes clear when we ask ourselves who did, what did, to whom did and finally why did, and when the viewer admits those things and accepts the answers the message Noé meant has been delivered. In films violence can be harrowingly brutal, shocking and graphic without being gratuitous and just cheap exploitation shock, and that is the case with Noé's work as in any other important film that builds and gives, and never takes/exploits anything by raping the tool of cinema. After the Rectum finale, only a stupid and a weak mind can think that any wise decisions were made, after the fateful rape, by the characters, humans.

Also the infamous crime scene that started it all is so easy to be judged as "unacceptable" and, even more laughably, "pornographic", as now it is nothing less than effective and useful for its purpose, useful to show the nature of sexual violence and how it really is, ugly, nauseating, sadistic and without respect for human life. If someone asks why such a long scene of rape must be filmed as those kind of things happen in real world all the time, the answer is a new question: since those things happen around us all the time and other tools have not been able to stop them or other violence in our world, why couldn't an artist try his own extremely powerful tool (cinema, image and sound) to change and affect things and people? Can there be enough weapons to stop those things happening around us and why the attempts of cinema and a film maker so often are overlooked and not given the acceptance and importance they deserved? Perhaps because they show too much about our very selves and to admit it, that everyone of us is just a human, is too difficult for many.

Another important theme of the film is that of its title, how things and deeds are and remain how they once get done, and the more serious and critical the deed is, the more we look and think about it afterwards, still never being able to change it once it's been done as time is so merciless. Beautiful, sunny and sweet things full of life can turn into destruction, darkness, agony, death and eternal loss especially if wrong and fast decisions are made and too much power for the animal instincts are given. Noé's phrase "time destructs everything" is more than true, but also, to some extent, possible to be affected by us who live this world and life so that no more destruction than there already is would take place. Too often precious things get killed because we didn't understand and see early enough, and that's why films like this are universal and eternally fresh in their themes. The film is not thoroughly pessimistic and hopeless due to certain images of beauty and possibility; the images of the beginning were destructed by a happening not possible to be prevented but the total death and Hell could have been prevented, and that's why we, the audience see it first.

The actors all do incredible job as there wasn't a script for the film, only a few written pages about the main happenings and parts of the story so all the dialogue was improvised by Noé's instructions and the three do it very naturally and it is not possible to guess there wasn't a screenplay for them without knowing it. In any possible aspect this film is unique and like no other: it was made like no other, it includes images and sounds like no other, and it has a theme and message so strong like no other film (some getting close) in the whole history of movie making. Great art doesn't need to be conventional and like the other works of its kind, and possibly the greatest thing an artist can achieve is a new, powerful, view and way to present it. That Noé achieved and delivered. He did a masterpiece in 1998 and he did another, even more powerful masterpiece in 2002. Both films are perfect in my values and thus among the most important works ever made. Noé did these two and he's still young and full of ideas about themes and elements which he will use in his forthcoming projects. He must not be left outside the canon of the most important masters and philosophers of cinema like some other have, and the world doesn't even know how much it gets if the financers of his films would understand this too. It is like I and the other audience didn't know what was to come when the hypnotic credits of Irréversible started to roll on the silent screen. 10/10