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WHY THIS FILM ?

WHY DO PEOPLE ONLY REMEMBER THEIR PAST? 

WHY DOES NO ONE LISTEN TO PREMONITORY DREAMS?

WHY DOES THE PERCEPTION OF TIME ONLY TRAVEL IN ONE DIRECTION?

WHY IS FREE WILL AN ILLUSION? 

WHY IS MAN ONLY AN ANIMAL?

BECAUSE TIME DESTROYS EVERYTHING

BECAUSE SOME ACTS ARE IRREPARABLE

BECAUSE MAN IS AN ANIMAL

BECAUSE THE DESIRE FOR VENGEANCE IS A NATURAL IMPULSE

BECAUSE MOST CRIMES REMAIN UNPUNISHED

BECAUSE THE LOSS OF A LOVED ONE DESTROYS LIKE LIGHTNING

BECAUSE LOVE IS THE SOURCE OF LIFE

BECAUSE ALL HISTORY IS WRITTEN IN SPERM AND BLOOD

BECAUSE IN A GOOD WORLD

BECAUSE PREMONITIONS DO NOT ALTER THE COURSE OF EVENTS

BECAUSE TIME REVEALS EVERYTHING

THE BEST AND THE WORST

Why this film? Because the original was told backwards and many viewers, swamped by the anticlockwise structure of the editing, didn’t understand certain aspects of the story. Presented clockwise, everything is clear and also darker. No dialogues have been cut, nor have any events in the story. Which is why this version is called Straight Cut. Until now, Irréversible was a deliberate puzzle. Now it’s a diptych, like an old record whose B side is the less conceptual mix of the track on side A, but this time with voices that are more audible, rendering the meanings of the words more fatalistic. You will see. Time reveals all things.

IRREVERSIBLE

The dress was designed by YSL's designer, Jurgen Doering, inspired by a green dress belonging to Monica Bellucci. Ten copies were made, each take destroying inevitably the dress. 

 
 
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EXCEPTIONAL INTERVIEW

GASPAR NOE

Here it is. After more than forty interviews, the coverage of each movies since 2003, important updates on the website, we had to go back to our roots — as Irreversible gave birth to us — to finally offer you an interview with Gaspar Noé. We deeply thank Gaspar Noé for his availability and Isabelle Sauvanon, without whom we couldn't have made this. Happy reading!

If you could reshoot one sequenc from one of your movie, which one would it be? 

I don't really have any regrets on a specific sequence. Maybe because I never watch my old movies because I always want to re-edit, re-grade, remix it... 

After Philippe Nahon's loss, which deeply moved us, do you consider to make him a tribute cinematically? 

I've written a tribute letter [FR] to my friend when he died, which was published in Libération... Since then, his ashes were thrown in sea and it makes me want to swim there. The next tribute will be when the 2K/4K digital master of the two movies we made together will be done and that the movie could finally be re-released in theaters and on Blu-Ray.

You shoot more regularly. Is it because you have more opportunities or simply beacause you are more conscious of passage of time?

 

I shoot when I'm given the money to shoot. Enter the Void and Love were very difficult to finance, especially the first one which was really expensive (€12M) and with a very atypical style. But I didn't want to scatter by directing projects that mattered less to me. Today, now these teenagers dreams are accomplished, I'm more willling to seek where the money is to do a movie I can enjoy myself directing and on which I won't bother too much about. If it has to be shot within 15 days, I'm sold! Give the money. And if it has to be done within 5 days, it's all the same... And if I'm given money for shooting a movie during 4 months or more, like Enter the Void, of course I'm in. But the freedom given is always more precious than the budget.

Which recent work - film, book, music... - affected and inspired you, and even opened up new horizons? 

 

Technically speaking, the thirty first minutes from Gravity astonished me. 6 months ago, I was in hospital stuffed with morphine, and the movie was broadcasted dubbed in French on the little TV at the other end of my room. And I loved it as much as when I watched it the first time in the best 3D theaters in Paris... Except that, I took advantage of my recovery and particularly quarantine to watch many great movies I had never seen before : Andrei RublevThe Rules of the Game, The Ballad of Narayama (the one from 1958 directed by Kinoshita), Sansho the Bailiff and The Life of Oharu. Discovering such masterpieces makes you want to direct new movies...

Do you consider, some day, to adapt a book or work with a scriptwriter?

Yes, for sure. But I don't have any precise novel to adapt or co-scriptwriter at the moment.

How do you calm down your anxiety? 

Watching classics movies and falling asleep.

In your career, most of your projects came from past ideas: Pulpe Amère presaged Carne with its ever-present voice over, and at the time of Carne, you already had Enter the Void in mind as much as Love, which was nearly produced by Dario Argento. Love project in 1992 was known as Danger and it's the plot you offered to Vincent Cassel and Monica Bellucci before you choosed to make a rape-and-revenge movie with long shots... If you recognized being inspired by Memento, when did you consider to make the movie in a non-chronological order?

Dario Argento never nearly produced Irreversible! I don't know where this fake news comes from.

[Ed.: The information according to which Dario Argento should have produced Love - not Irreversible comes from an interview Gaspar Noé gave to Christophe Lemaire who asked him, just after Carne what were his projects : "Otherwise, I also have a project with Dario Argento. Having watched Carne in Toronto, he offered me to produce my next movie. A psycho-social sexual drama! The story of a love relationship between two lost souls that ends badly."]

However, he did came in my editing room when I was editing the movie, I showed him the very first part and I stopped when Monica's character enters the tunnel. I wanted him to watch the whole movie on the big sceen... Except that, when I saw Memento, I felt lost in its maze-like temporal structure, made of sequences going backwards and others in the other way around. But watching this film reminded me another film I had missed in theaters and on TV, but which was told backwards. It was Betrayal, based upon a play by Harold Pinter. So, I wrote a "rape-and-revenge" (missed revenge in this case) story, happening in one night with 12 sequences we could edit backwards. I wrote each sequence on a separate page, and reversing the order once then twice, I could see if the movie would be clearly understandable - and if it was logical - in both orders. We shot chronologically in a bit less than 6 weeks, but I knew at the very beginning that the movie would be edited backwards. It was my wish. 17 years later, when we remastered it in 2K/4K, when I had the movie back in my editing room, I thought I should try an alternative cut for the Blu-Ray extra features. This new chronological cut, quite quickly made, was actually way more interesting than I had ever imagined. It was screened in Venice and it is finally releasing in theaters too. But I deeply advise everyone to watch the 2002 cut first, then watch the "straight cut" from 2020. The first one asks a lot of questions, the second brings some not so gleaming answers.

During your masterclass in Lyon, Cyril Roy [actor in Enter the Void] told me that in Asia, Irreversible was recut in its chronological order for DVDs extra features. You then explained me that it was made without your agreement and instead, you probably would have added black title cards between each scenes, a bit like Love. It's not what we see in the straight cut, for which you and your crew remade each transitions in order to keep invisible cuts. Why?

Indeed, in Korea they tried a recut for their bonus features, but when I started to watch it, the cuts were so poorly done that I stopped after 20 minutes and I never watched it again. In the straight cut that I edited, we made sure that every spliced between sequences remained as much enjoyable as in the original version.

Back in 2016, StudioCanal was supposed to re-release the movie in Germany with a new master. In the end, it was on an Italian Blu-Ray that we discovered this master in 2017. is there any difference between the 2017 and the 2020 masters?

I think that Irreversible Blu-Rays already available (italian, japanese etc.) are all frauds in fake high definition, made from poor masters used for TV and DVDs in 2002... No, I absolutely changed nothing to the original cut by doing, in 2019, the new master of the movie.

 

[Ed. : if there are some well and truly fake Blu-Rays made from the DVD master, the italian edition is well a "new master", watchable in France through Prime Video. The film grain being more detailed as much as the overall images, than the DVD or the fake Australian Blu-ray. We've been confirmed by StudioCanal that the version available on Prime Video is legit. There is a mystery on this master that Gaspar Noé seems to never approved of. We'll make sure to have more informations from different distributors and editors to know more about this]

Is the period between this 2017 master and the re-release due to the fact that you wanted to do the Straight Cut for the Blu-Ray extra features? Otherwise, why has there been such amount of time while the master seemed ready and most likely approved?

The only master we approved was the one we started in 2019 which is finally ready to be commercialised in 2020. No other were ever approved. And it's nice to go from "2002" to "2020", it's like a partial reversal of reading direction, just as in the new cut.

 

Irréversible was remastered in 4K, but StudioCanal will edit both versions in one double discs "standard" blu-ray combo pack.  Is it only because of the lack of popularity from the UHD format?

The truth is that the film was originally shot in Super 16mm, post-produced in HD video but not at all 4K, and after the grading reshot on 35mm film. We saw the 16mm grain and it was part of the charm of the picture. If the film is upscaled in 4K, the original image is in a lower definition than 2K anyway. To release 4K Blu-rays, they have to be made from 4K masters or 35mm or 70mm films. Otherwise, it's pointless. But if theaters projectors are 4K, it's normal to deliver a 4K DCP, even if the original film hasn't the right definition.

 

It's not a coincidence if I talked about Pulpe Amère earlier: the first DVD of Irreversible should have included it in its extra features. Yet, if it's mentioned on the DVD cover, your shortfilm is completely absent. Can we expect to see it in its entirety, maybe in the blu-ray features? For our readers, let's remind that this shortfilm's cinematography was made by Maxime Ruiz, still photographer on Irreversible we can discover on screen in Lux Æterna (as the cinematographer).

Pulpe Amère won't be part of the Blu-Ray becase, rewatching this very short film, we all thought it didn't belong in the video edition. And yes, I had shot this short with my friend Maxime Ruiz, in his photo studio at the time. Since then, he has been a still photographer on Irréversible and he is fabulous in my last middle-length film Lux Æterna. 

[Ed. in France, a movie is considered "short" below 59 minutes and above is considered a feature film. Sometimes, depending on people, films between 30-59 minutes are called "moyen-métrage", or "middle-lenght film"]


A few months ago, Albert Dupontel told us a story about Irreversible success : in the US, he didn't have an ID and in order to buy something with his credit card, he had to show a DVD from the movie... Which impact the movie had on your career?

Me too, when I'm arrested by cops and I have to tell them my name and job, when I have to tell I made Irréversible, all of them saw it. Same for the taxi drivers and bouncers. It helps a lot.

You shot unused footages of Monica Bellucci on her hospital bed. We could have expected that the Straight Cut, more focused on Alex who opens the movie, ends up with these footages, or at least shows some never-before-seen footages. It's not the case. Did you consider using unused footages?

I indeed considered using this cut scene but it would have been used at the very end as an happy end, revealing that she was still alive. I thought it was stronger and more anxious not telling what happened and I gave up the idea.

Cut scene from Irréversible © StudioCanal 2002

Climax and Lux Æterna didn't provoke any outrage (well, we remember the emergencies coming at the end of Lux Æterna's Cannes screening), some film critics even think you're wiser. Is this re-release a way to remind you haven't lost anything, before your project supposed to be darker and more vicious?

Wiser or not isn't the subject. We shoot films about more or less problematic themes. We should never force ourselves to shock people just as we should not be afraid of doing so. Personnally, only the news are still able to shock me. Not fiction movies with actors.

Irréversible is a turning point in your career : your first feature with complex camera movements and invisible cuts, your first collaboration with poster designer Laurent Lufroy and cinematographer Benoit Debie. How do you expect your career and style evolve in the upcoming 10 years?

I hope I'll continue shooting films with my gifted friends. It's the collective competition which makes us want to shoot these movies and to show them.

A huge thanks to Gaspar Noé for his availability.

Interview made by mail by Frédéric Polizine and Alexis Veille, august 2020.

OTHER INTERVIEWS

JEAN-LOUIS COSTES

ACTOR — FISTMAN

MICK GONDOUIN

ACTOR — MICK

AURÉLIE M.

EXTRA

JO PRESTIA

ACTOR — LE TÉNIA

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PRESSKIT

2002

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  • [TRANSLATED AUTOMATICALLY]

    > MAY 2002 > FINISHING THE PRESS KIT> END OF THE 35 MM TRANSFER OF THE FILM> END OF THE PRESIDENTIAL ELECTIONS> NATIONAL RELIEF> MANUFACTURE OF INTERPOSITIVES AND INTERNEGATIVES> PRINTING OF THE COPIES ROOMS> SUBTITLE OF THE FILM IN ENGLISH> MONICA ON THE COVER OF SEVERAL MAGAZINES> HUGE PROMOTIONAL CAMPAIGN> POSTERS AND FILMS-ADVERTISEMENTS EVERYWHERE> CLASSIFICATION COMMITTEE> HAPPY DEBATE AND BAN ON MINORS> THE COUNTDOWN SHUT DOWN> MAY 24> PRESENTATION OF IRREVERSIBLE AND SENIOR AT CANNATION FROM THE FILM> TIME REVEALS EVERYTHING > APRIL > INTEGRATION OF MAC GUFF'S LAST TRUCKS> AFTER SEVERAL MONTHS OF WORK, CHABRIER, SUCH FRANKENSTEIN, FINALLY GIVES HIS CREATURE, A MONSTERLY SHOT-SEQUENCE OF MURDER MADE OF A THIRTY PLANS OF A LITTLE PLANT > LONG DAYS OF DIGITAL CALIBRATION> THE LAWS OF ELECTRO-PHOTO-CHEMISTRY ARE IMPENETRABLE> BANGALTER MASTERS THE ORIGINAL STRIP OF THE FILM IN ENGLAND> ENCHANTING THE RESULT , NOE LISTENING IN A LOOP> THE POSTER IS FINALLY VALIDATED> AFTER LONG DISCUSSIONS, THIS WILL BE THE VISUAL OF BELLUCCI ADVANCING FROM THE BACK IN THE RED TUNNEL> LESCURE, AT THE ORIGIN OF THIS FILM, MUST EXIT CANAL +> CONSTERNATION IN THE PROFESSION> THEN NATIONAL CONSTERNATION AT THE END OF THE FIRST ROUND OF THE PRESIDENTIALS> THEN EXPLOSION OF JOY WHEN “IRREVERSIBLE” IS SELECTED IN OFFICIAL COMPETITION IN CANNES> BELLUCCI AND CASSEL FROM THE OTHER END OF THE WORLD AND DUPONTEL IN PARIS JERVERSIBLE> THE DISTRIBUTOR, CONFIRMS THE DECISION TO RELEASE THE FILM AT THE END OF MAY, ON THE DAY OF ITS SCREENING IN CANNES> HE WANTS A BIG, VERY LARGE RELEASE> HE TALKS OF 250 COPIES OR MORE, A SURPRISING CHOICE FOR THIS EXTREME FILM> THE PRESSURE IS STILL RAISING AND YET> THE MASTER 35 MM AND ALL PROMOTIONAL ELEMENTS MUST BE EMERGENCY DELIVERED> NOE WORKS 24 HOURS A DAY> BUT THE HOURS HAVE ONLY SIX MINUTES> THE DAYS ARE TOO SHORT> THE WHITE NIGHTS OF INTERMINABLE MIXING> THE INTERNATIONAL VERSION IS FINALLY DELIVERED TO THE ITALIAN DISTRIBUTOR WHO PANIC AT THE IDEA OF NOT BEING ABLE TO RELEASE THE FILM AT THE SAME TIME AS IN FRANCE > MARCH > BELLUCCI TO SHAKE A HOLLYWOODIAN PRODUCTION IN HAWAII AND CASSEL GOES TO MEXICO FOR THE WESTERN METAPHY KOUNEN> NOE, PRESSED BY TIME AND RUGGED WITH DOUBT, MUST FINALLY DECIDE ON ONE OF THE MULTIPLE ENDINGS OF HIS FILM> IT WILL BE THE ONE WITH THE POSTER OF “2001, THE ODYSSE OF SPACE“ WHICH LEAVES FREE COURSE TO CONTRADICTORY INTERPRETATIONS> IT IS ALSO, THE GENERAL OPINION, THE MOST BEAUTIFUL> AT THE LAST MOMENT, NOE CHANGES THE FUNNIEST TAKE OF THE PLAN-SEQUENCE OF LOVE BETWEEN BELLUCCI AND CASSEL, BY ANOTHER MORE SENTIMENTAL> “IRREVERSIBLE“, WITH A STILL UNFINISHED MIXING, IS PROJECTED TO THE MEMBERS OF THE SELECTION COMMITTEE FOR CANNES, AS WELL AS A HANDFUL OF JOURNALISTS LOOPING THEIR NEXT MONTHLY> THE FIRST RETURNS ARE PASSIONAL> IT'S ALL BLACK OR ALL WHITE > NOE REJOYS, THE SAUCE PR END> BUT THE PRODUCERS ROSSIGNON AND GRANDPIERRE, AS WELL AS THE DISTRIBUTOR ARE FEAR THAT THE FILM WILL BE EXCLUDED FROM THE SELECTION OF THE GREATEST FILM FESTIVAL IN THE WORLD> THEY THEN CONSIDER ALL KINDS OF STRATEGIES FOR THE FUTURE OF THE FILM> ALL IMAGES FALKED AND UNFILED THE FILM IS TRANSFERRED TO A FLAME STATION FOR CONFORMATION OF THE HIGH DEFINITION VIDEO EDIT> HELAS, NOE IS STILL MAKING LAST SECOND CORRECTIONS TO EVERYONE'S DESIRE > FEBRUARY > AT MAC GUFF, ALL KINDS OF NEW OR 3D TRUCKS IN MAPPING ARE LAUNCHED TO MAKE THE SEQUENCE OF THE ASSAULT MORE TROUBLE AND MORE CREDIBLE> BELLUCCI, VERY AMUSE, APPROVED> DURING ONE NIGHT NOE FINDS THE EPILOGUE OF HIS FILM: A SEQUENCE OF PURE, HYPNOTIC AND TROUBLE STROBOSCOPY> THE PRODUCERS AND THE DISTRIBUTOR ARE CONSTERNED> ACCORDING TO THEM, NOE WANTS TO DESTROY HIS FILM> HE EVEN WANTS TO REMOVE THE FINAL BOX OF THE FILM> TIME DESTROYS EVERYTHING> BUT THE DIRECTOR DOESN'T START IT> THE TIME REVEALS ALL> SOME PARTNERS SEE THE FILM AND COME OUT OF IT BEHIND, SOUNDS, TEARS OR LAND, BUT NEVER RESPECTFUL> BANGALTER CONTINUES TO PROVIDE NEW SONGS AND VARIOUS SOUNDS SPECIALLY DOGS FOR THE SEKER FILM > BRECKER ADDITIONAL> BRECKER ADDITIONAL WITH JANUARY > BRECKER WITH A VIEW TO ADDING STRANGE SOUNDS TO THE FILM> START OF SPEECH MIXING WITH HOLTZ> NOE ASKS FOR INFRA-BASS THROUGHOUT THE FIRST HALF OF THE FILM> ACCORDING TO HIM, THE SOUND MUST BE AS CONCERN AS THE IMAGE> REQUESTS DIALOGUES AT THE MONTAGE TABLE> NOE DOESN'T COME BACK FROM THE VERBAL FOUTOIR OF THE FILM, AS OPPOSED TO THE OVERWRITED MONOLOGUE OF HIS PREVIOUS FILM> IN THIS FILM OR EVERYONE IMPROVISED, IT'S LIKE IN REAL LIFE: THE ABOUT OVERLAP AND PEOPLE RARELY END THEIR SENTENCES> IN POST-SYNCHRO, SOME SHOCK SENTENCES ARE ADDED INTO OFF> INSPIRED BY THE MUSICAL AND MYSTERIOUS TRAILER OF “IN THE MOOD FOR LOVE“, NOE MAKES A FILM PROPOSAL CASE BECAUSE OF THE TEMPORAL PRINCIPLE ON WHICH THE NARRATION OF THE FILM IS BASED > DECEMBER > THE PRODUCERS ARE STARTING TO WORRY ABOUT THE EDIT THAT HE DIRECTS HIMSELF AND WHICH IS NO LONGER IN RELATION TO THE TIMES INITIALLY PROVIDED> THE PRESSURE OF A SCREEN ON THE DIRECTOR> TO PROTECT HIMSELF, NOE EATS A LOT OF MEAT, DRINKS AND BIGGER> ALTHOUGH THE IMAGE EDITING IS STILL IN PROGRESS, HIS DELOOF AND BOUCROT EDITORS ARE MOVING A LONG STEP ON THE CLEANING OF LIVE SOUNDS AND RE- WORK. SOUND CREATION> THE SOUND FOR THE INTERNATIONAL VERSION IS MADE IN ONE WEEK> INEVITABLY, THE CHRISTMAS HOLIDAYS ARRIVE ALL EXCEPT THE BOTTLE CAPS> A LARGE FATIGUE ENSURES > NOVEMBER > THE 12 SEQUENCE PLANS COMPOSED SOMETIMES MORALS OF MULTI MOUNTS> NOW IT IS NECESSARY TO WORK CAREFULLY ON THE CONNECTIONS BETWEEN THE SEQUENCES> FOR THIS, THE PLANS SHOT WITH THE MINIMA CAMERA IN THE EMPTY BACKGROUNDS ARE EXTREMELY PRECIOUS> SO PRECIOUS THAN THREE RETURNING DAYS WITH A MINIMA ARE ORGANIZED TO FILM QUICK PANORAMICS ON BULBS, BULBS, OR CLOUDS> BUT ALL THIS DOESN'T SOLVE THE PROBLEM OF THE END WHICH CONTINUES TO TORM NOE> THE SEXUAL ASPECT OF THE PROPOSED PROJECT INITIALLY IN CASSEL AND BELLUCCI HIM MISSED> BUT IS THIS REALLY THAT HE MUST RE-INJECT INTO THE FILM? > NOE HAS THE IMPRESSION THAT THIS LAST DAY OF FILMING IS HIS LAST CHANCE TO IMPROVE HIS FILM> THIS TIME HE IS PUTTING ON THE PRESSURE ALONE> WITH A FEMALE LINING, HE TURNS A SHOT WHICH EVOLVES “THE BIRTH OF THE WORLD“ BY COURBET , AND SHOULD INTERLOCK BETWEEN THE LOVE SEQUENCE OF BELLUCCI AND CASSEL AND THAT OF THE PARK> BUT IN THE VIEW OF THE RUSHES, HE DEFINITELY FORGETS USING THIS UNMOUNTABLE PLAN> NOE BEGINS TO THINK ABOUT THE POSTER AND GATHER A GRAPHIC DOCUMENTATION A FROM WHICH HE WILL MAKE PROPOSALS> THE DISTRIBUTOR AND THE PRODUCERS ARE CONCERNED ABOUT THE GRAPHIC WILL OF THE DIRECTOR> THE IRRESPONSIBLE CLOSURE PROPOSED BY THE DIRECTOR, “VENGEANCE IS A HUMAN RIGHT“, IS DEFINITELY DISCONTINUED > ONE OCTOBER > FIRST IMAGE EDIT IS COMPLETED AND NOE IS THE FIRST SURPRISED OF THE RESULT> THE NARRATIVE PRINCIPLE ON WHICH THE FILM IS BASED ON WORKS BEYOND ITS HOPES> LIKE SYMPHONY N ° 7 BY BEETHOVEN> ROSSIGNON ET GRANDPIERRE SE SAY PROUD OF THE RESULT> HAPPY, BUT STILL DISSATISFIED, NOE WAS PARTICULARLY ASKED ABOUT THE END OF THE FILM> HE SHOWS THE MOVIE TO RIDER WHO ADVISED HIM TO THINK ABOUT THE REASONS THAT PUSHED HIM TO TURN IT> THIS WILL HELP HIM MAY- BEING TO FIND ITS END> TIME IS EVERYTHING> CHABRIER AND THE MAC GUFF TEAM ATTACK THE EFFECTS WHOSE NUMBER WILL INCREASE EVERY DAY> OBSESSIONAL AND MANIAC WORK ON THE FITTINGS INSIDE THE PLANS CONTINUES> NOE SHOWS THE MOUNTING OF THE BANGALTER FILM SOME OF WHICH WERE USED FOR THE SEQUENCE OF THE PARTY> ENTHUSIASTIC, THIS AGREES TO COMPOSING ADDITIONAL MUSIC> WHAT IF THE SONGS ARE NOT SUITABLE? HE WILL NOT BE VEXE> THE NEGOTIATIONS ON THE ORIGINAL STRIP OF THE FILM CONCLUDED QUICKLY> IT WILL BE BANGALTER WHO WILL PUBLISH IT UNDER ITS LABEL ROLLS> MARAVAL SELLS THE FILM IN COMSTOCK IN JAPAN> DESPITE THE SECRET SURROUNDING THE FILM, INTERNATIONAL SALES FILM ANNOUNCES JUST > SEPTEMBER > BELLUCCI MOVES TO AUSTRALIA TO SHOT MATRIX 2 AND 3> NOE HIMSELF ATTACKS THE EDIT OF THE FILM, WHICH HE THINKS COULD BE COMPLETED IN LESS THAN 3 MONTHS VIEWING THE REDUCED NUMBER OF SHOTS> THE TIME WILL REVEAL HIS LACK OF DISCERNMENT> NOE GUESS THAT THE ESSENTIALS OF THE WORK WILL BE ON THE FITTINGS BUT HE DIDN'T YET IMAGINE THE QUANTITY OF CUTS HE WILL MAKE> HE MUST ALREADY START BY CHOOSING BETWEEN THE FIFTEEN TAKES MADE FOR EACH SHOT-SEQUENCE > EACH LAST BETWEEN 3 AND 15 MINUTES> A REAL PUZZLE> THERE ARE RARELY LARGE ACCIDENTS IN THE PLANS BUT IN SOME CASES NOE CHOOSES THE BEST MOMENTS FROM DIFFERENT TAKES THAT HE WILL ATTEMPT TO ASSEMBLE IN AN INVISIBLE WAY> CHABRIER AND THE TEAM FROM MAC GUFF, IN ADDITION TO THE VISIBLE EFFECTS PLANNED SINCE THE BEGINNING, WILL HAVE TO HELP HIM SMOOTH THESE INVISIBLE FITTINGS> BUT ALSO ERASE THE PERCHES, SHADOWS AND REFLECTIONS OF THE TECHNICAL TEAM> CHOOSING THE LATEST SEQUENCE PLAN: THIS IS THE TAKING WHERE CASSEL AND MONICA ARE THE FUNNIEST> JUST LIKE THE TAKING WITH DUPONTEL IN THE SUBWAY > AUGUST > FILMING NIGHTS COME ON> NOE IS NOW MAKING HIMSELF CAMERA MOVEMENTS WHICH BECOME MORE MORE PSYCHOTIC> IT GIVES LESS AND LESS INDICATIONS TO ACTORS> THE CHARACTERS OF THE FILM BEGIN THEIR DESCENT INTO HELL> THE TEAM ALSO SOMETIMES> FIRST, THE RAPE TURNS SIX TIMES OVER TWO NIGHTS> BELLUCCI AND PRESTIA PUT THE BAR VERY HIGH IN THE GAME AND NOE OVERBIDDED IN THE REQUIRED TIME> THE SEQUENCE TAKES PLACE IN A TUNNEL PAINTED IN RED, AND WHOSE FLOOR HAS BEEN COVERED WITH CONCRETE-COLORED FOAM> BELLUCCI AND PRESTIA RELEASE THEIR FORCE BEFORE THEIR LAST GROUND SHORE FOR THE ONLY TIME IN THE FILM> THEN THE COMEDIANS WATCH THE TAKES SHOT ON A MONITOR> FASCED BY THE APPARENT VIOLENCE OF THE TAKES, THEY LEAVE TO REST TWO HOURS BEFORE RE-ATTACKING A NEW TAKE> FOR THE CIRCUMSTANCES, THE THE TEAM IS REDUCED TO THE MINIMUM STRICT> THE DAY, IT'S THE SHOOTING OF THE DISCOVERY OF THE BODY DEFIGURE> CASSEL MUST CRY AT REPETITIONS, UNTIL EXHAUSTION> THEN IT'S THE SHOOTING IN A HOMO PARISIAN CLUB REBAPTIZES THE “RECTUM“ FOR THE CIRCUMSTANCES> RE-LIGHTED WITH RED BULBS, IT BECOMES EVEN MORE CONCERNING> IN VIEW OF THE HUMIDITY, THE CLUB LAYOUT ON THREE BASEMENT AND THE LARGE NUMBER OF FIGURES, SOME TEAM MEMBERS ARE CLAUSTROPHOBIC> THE THIRD DAY WILL BE THE ONE OF MURDER> SPADACCINI PROVIDES THREE HYPER-REALISTIC COPIES OF THE BODY OF THE COMEDIAN, SO THAT DUPONTEL SHREADS THEIR HEAD IN FRONT OF THREE CAMERAS> THIS ONE, ECOEURE BY THE BARBARIA OF HIS OWN SINGLE CHARACTER, ONLY THE SELF CHARACTER, NE RE STEPS NOTHING ABOUT THE LAST MODEL> AT THE END OF EACH NIGHT OF SHOOTING, NOE TURNS IMPROVED SHOTS IN ALL DIRECTIONS (ON WALLS, BULBS, OBJECTS, ETC ...) IN THE EMPTY SETS WITH A SMALL CAMERA SUPER 16 NAMED MINIMA> THIS RAW MATERIAL WILL BE INFINITELY PRECIOUS FOR THE EDITING> AUGUST 30 WITHOUT A DAY OR AN EXCEEDING FRANC, THE SHOOTING IS OVER > JULY > THE SETS ARE FOUND, BELLUCCI'S DRESS CUT, THE FORMAT OF THE FILM DEFINED > THE REST OF THE CASTING WILL BE NAHON, THE ACTOR OF “ALONE AGAINST ALL” WHO WILL OPEN THE FILM, IN THE COMPANY OF DROUOT, FRIEND OF NOE AND DIRECTOR OF “STAR SUBURB” GENIAL SCIENCE-FICTION MEDIUM-METRAGE> AS TO RAPE HE WILL BE PERFORMED BY PRESTIA, THE FORMER WORLD BOXING CHAMPION THAI, WHICH NOE WOULD LIKE TO SEE EVEN MORE TERRIFIC THAN DURING HIS ROLE IN “THE LITTLE THIEF”> THEN COMES THE MYTHICAL PERFORMER COSTES IN THE ROLE OF MASO THAT CASSEL WILL HAVE TO HIT PSYCHOTICH> AND FINALLY REAL TRAVESTIS AND VARIOUS NON-PRO FORMIDABLE FESSIONALS FOUND BY GRANT, SPECIALIST IN WILD CASTING> DURING THIS TIME, THE PRINCIPAL ACTORS GET ON THEIR BRAKES> AND WORK OF THE HEAD: WHERE WILL NOE REALLY WANT TO LEAD THEM? > SATURDAY, JULY 13, TWO DAYS BEFORE THE SHOOTING, THE SETS ARE NOT READY AND THE SCENARIO IS DONE ... THREE PAGES> FOR THE FIRST TIME, A TERRIBLE ANXIOUS SUBMERGES NOE, AS WELL AS ALL OF THE PARTNERS. WHAT IF THE FILM WAS ... FORTY MINUTES? .. AND IF ? ... AND IF ... ? > AND MONDAY, JULY 15, IT IS THE START OF THE SHOOTING> EVERYBODY HAS A DIFFICULT BELIEF IN THE REALITY OF THIS HOLD-UP WITHOUT VIOLENCE WHICH JUST BEEN LAUNCHED> THE FIRST SHOT TURNS LASTS TWELVE MINUTES> IT IS THAT OF CASSEL AND BELLUCCI NAKED IN THEIR APARTMENT> ONE OF THE DIRECTOR'S MAIN INSTRUCTIONS IS TO CHANGE THE DIALOGUE EVERY TAKE EVEN IF IT IS TO SAY THE SAME THING> CATELAN WILL SUCCEED PERFECT STEADYCAM PLANS DURING SOMETIMES UP TO 16 MINUTES> NEW TAKE THE ACTORS BREATHE LOVE AND THE NATURAL> FROM THE KITCHEN WHERE HE MONITORES THE PLANS ON A MONITOR, NOE BREATHES> THE PRODUCERS AND THE ACADIANS ALSO> AT THIS PACE, THE FILM WILL NECESSARILY BE A FEATURE> THE SHOOTING TAKES PLACE IN A CHRONOLOGICAL ORDER> EXCEPT FOR THE CRANE PLAN IN THE PARK, TURNS AS A SECOND PLACE> THE MONITORS ARE CLEAR: THIS FINAL OF THE FILM IS A SUCCESS> FROM THE COUP NOE BURNS TO TURN ITS NEXT SEQUENCE WITH A TECHNOCRANE> THREE DAYS MORE LATE, DUPONTEL FAI T HIS APPEARANCE IN THE METRO> HIS VERY ENTHUSIASM THE TEAM AND THE OTHER ACTORS> BELLUCCI IS AFRAID OF NOTHING AND CASSEL WHO HAS FUN LIKE A MAD OVERFLOW OF ENERGY> THEN COMES THE PARTY, OVERLOADED WITH MUSIC AND ALCOHOL, AND TRULY THE MOST WORRYING SHOOTING IN THE FILM> THE WHOLE TEAM WORKS 24 HOURS A DAY> THE DAYS ARE TOO SHORT BUT THE ATMOSPHERE IS HAPPY> SOON WE WILL ENTER THE BLOODY PHASE OF THE FILM > JUNE > THE BUDGET IS ALMOST FOUND, CONTRACTS NEGOTIATED AND FILMING STOPPED ON JULY 15> MOST OF NOE'S USUAL EMPLOYEES ARE UNAVAILABLE> A FIRST ASSISTANT, THERY-LAPINEY, AND A PRODUCTION DIRECTOR, CATFIORY OF RELEASE, ARE READY TO READY THE FILM IN SIX WEEKS> THEIR CONTRIBUTION WILL BE DECISIVE> NOE FINALLY SUCCESSFUL TO WRITE ... ONE PAGE> A CANVAS WITH SIX SEQUENCES EACH SHOT IN A SHOT-SEQUENCE, OF WHICH DIALOGUES AND DETAILS WILL BE IMPROVED ON THE SHOOTING> NO CUTTING A ADVANCE BUT WHAT WHAT ESSENTIAL PRINCIPLES, SUCH AS THE ABOLISHED BAN ON THE USE OF PROJECTORS> IN THE ABSENCE OF COLIN, GOT A FILM IN GREECE, IT'S DEBIE, A BELGIAN OPERATOR WHOSE NOE HAD LOVED A SHORT FILM THAT WILL ACCEPT IN EXTREMIS THE BET> NOE WILL HOLD THE CAMERA, EXCEPT OF COURSE WHEN IT COMES TO THE STEADYCAM OR THE CRANE> SEEN THE LACK OF TIME, MANY PEOPLE ARE WORRIED> BUT AFTER THE DRASTIC CONDITIONS OF THE FILMING OF “SINGLE CONTRA ALL“, HIS FILM PREVIOUS DURING WHICH HE HAS MOSTLY IMPROVISED SEQUENCES, NOE FEELS ARMORED> IT IS WHEN HE MEETS STONE WHICH CAUGINS HIM: “WITHOUT SCENARIO YOU NEVER GET OUT. THE SCENARIO IS THE LIGHTHOUSE THAT GUIDES YOU IN THE DARKNESS OF THE SHOOTING “> NOE REMINDS HIM NIETZSCHE'S MAXIMUM WHICH IS AT THE BEGINNING OF“ CONAN THE BARBARIAN “:“ EVERYTHING THAT DOESN'T KILL MAN MAKES HIM STRONGER “> STONE KNOWS HER WELL, BECAUSE IT WAS HIMSELF WHO WRITTEN THE SCENARIO> NOE DOUBTS BUT, ANYWAYS, HE CAN NO LONGER TURN BACK> NEITHER THE ACTORS, THE PRODUCERS, OR ANYBODY > NEW MEMBERS JOIN THE TEAM> SPADACCINI WILL TAKE CARE OF RECREATING THE EXPLODED HEAD OF GONDOUIN IN LATEX, THE FRIEND OF “TENIA”> JUTEAU TAKES CARE OF THE SETS> CAMERA TESTS ARE LAUNCHED BY RABATE IN ORDER TO DECIDE ON THE SHOOTING FORMAT> DESIRING A LIGHT CAMERA THAT HE CAN CARRY AT THE END OF ARM, NOE OPTS FOR THE SUPER 16, TO LATER INFLATE 35 SCOPE BY DIGITAL > MAY > CASSEL AND NOE MEET IN A NIGHT BOX> NOE REVIEWS AN EROTIC MELODRAME PROJECT WITH ANY SMALL BUDGET THAT HE WANTS TO RUN DURING SUMMER WITH A REAL COUPLE> CASSEL A FEEL THAT BELLUCCI AND HIM COULD BE INTERESTED> THE THREE MEET ALL THE THREE> NOE EXPLAINED THEM THAT HE WANTS TO MAKE A HAPPY AND INCENTIVE FILM> BELLUCCI AND CASSEL ARE ENTHUSIASTIC> TO MOTIVATE THE COUPLE, BY KUBRICK, SPEAKER THE EMPIRE OF THE SENSES “, AND“ FEVER IN THE BLOOD ”> DURING THE APPOINTMENT, BELLUCCI LEARNS THAT SHE IS CHOSEN TO PLAY IN THE SUITES OF“ MATRIX ”BEGIN SEPTEMBER> THE POSSIBLE SHOOTING WITH NOE SHOULD THEREFORE IMPERATIVELY BE FINISHED BEFORE> THEY THEN REVIEW THE PRODUCERS LIKELY TO SET UP SUCH A PROJECT, WITHOUT A SCENARIO BUT WITH HEAVYWEIGHT CASTING> ROSSIGNON (NORTH-WEST) AND GRANDPIERRE (ESKWAD) ARE QUICKLY CONTACTED SEPARATELY> THEY HAVE AGREED A CO-PRODUCTION AND IMMEDIATELY RECALL THE STAKEHOLDERS> NOE AND DUPONTEL MEET ONE NIGHT AND NOE DRIVES HIM TO SEE “MALENA“> DUPONTEL IS SURPRISED BY THE CHOICE OF THE FILM BECAUSE NOE SAYS A WORD ABOUT HIS PROJECT> RETURN TO PARIS> NOE SEATS A WRITING A SY NOPSIS> TIME REVEALS EVERYTHING> BY ACCIDENT, GRANDPIERRE UNVEILS NOE'S SECRET PROJECT IN DUPONTEL, WHICH SUDDENLY INCLUDES EVERYTHING> CRAZY CRISIS> THEN NOE FOUND DUPONTEL IN CANNES> RETURN IN THE LITTLE PLANE PILOT BY THE LATTER> AFRAID AND THINKS THAT HIS LIFE COULD BE SHORTER THAN EXPECTED> BACK IN PARIS, HE WORKS ON HIS PROJECT> THE COUNTDOWN HAS BEGUN> A FEW DAYS LATER, NOE DEPOSITS THE TEXT IN THE COUPLE'S LETTER BOX> THE OVERNIGHT, CASSEL RECALLS NOE> ALL CONSIDERED, BELLUCCI AND HIM GIVE UP THE IDEA OF PLAYING EROTIC SCENES BUT NOT RUN WITH NOE> DOESN'T HAVE ANOTHER PROJECT TO PROPOSE THEM? > WHY NOT A “RAPE AND VENGEANCE” FILM PROPOSES NOE, LIKE “MAD MAX” OR “A JUSTICIER IN THE CITY”> ANYWAY, HE NEVER FILMED THAT> STRANGE RELIEF, EVEN WHEN NOE ENSURES WANT TO DO MORE VIOLENT THAN “SALO” AND “THE STRAW DOGS“ GATHERED> AS EXPECTED, SIMULATED VIOLENCE IS LESS PROBLEM THAN UNSIMULATED SEX> A THIRD CHARACTER MAKES HIS APPEARANCE IN HISTORY, WHO COULD BE EMBODYED BY DUPONTEL> A UNUSUAL NARRATIVE STRUCTURE THEN ENRICHED THE VERY BASIC INTRIGUE> IN VIEW OF THE URGENCY OF THE PRODUCTION, FOR FINANCIALS IT WILL BE TO TAKE OR LEAVE> BUT THANKS TO THE SUCCESS OF THEIR PREVIOUS FILMS, ROSSIGNON AND GRANDPIERRE ARE VERY ABLE TO MONITOR QUICKLY THE PROJECT> IN THE FOULEE, CANAL +, LE STUDIOCANAL, SALES AGENT WILD BUNCH AND DISTRIBUTOR MARS FILMS ALSO COMMIT TO THIS PROJECT WITHOUT TEXT OR TITLE BUT WITH NAMES> BELLUCCI AND CASSEL MEET DUMIERETELIS FOR THE FIRST TIME > DURING THE DINNER NOE IMPROVIS A LITTLE MORE A SIMPLE OF HISTORY> ALTHOUGH IT IS A NEW QUESTION OF NUDITY SEQUENCES WITH THE COUPLE, THE VERBAL AGREEMENT IS SEALED AND THE CONTRACT NEGOTIATION LAUNCHED

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  • GASPAR NOE> SELECTIVE FILMOGRAPHY> SCREENPLAY, CAMERA, EDITOR, PRODUCER AND DIRECTOR: CARNE (40 MINUTES - 1991) CRITICAL AWARD OF THE WEEK, CANNES FESTIVAL> I STAND ALONE(90 MINUTES - 1998) AWARD OF THE WEEK OF THE CRITIQUE, CANNES FESTIVAL> CAMERA, ARTISTIC ADVISOR, PRODUCER: MIMI> LUCILE HADZIHALILOVIC (52 MINUTES - 1996)> IN PREPARATION: ENTER THE VOID


    THOMAS BANGALTER> SELECTIVE DISCOGRAPHY> CREATION OF DAFT PUNK WITH GUY-MANUEL DE HOMEM-CHRISTO (1993)> DAFT PUNK - NEW WAVE (1994)> DAFT PUNK - DA FUNK / ROLLIN '& SCRATCHIN' (1995)> CREATION OF THE ROLL LABEL > THOMAS BANGALTER - TRAX ON DA ROCKS (1995)> THOMAS BANGALTER - SPINAL SCRATCH (1995)> DAFT PUNK - HOMEWORK 1997> STARDUST - MUSIC SOUNDS BETTER WITH YOU (1998)> THOMAS BANGALTER - TRAX ON DA ROCKS VOL 2 (1998) > DVD “DAFT” (1999)> DJ FALCON & THOMAS BANGALTER - TOGETHER (2000)> DAFT PUNK - DISCOVERY (2001)> DAFT PUNK - ALIVE 1997 (2001)> 113 & THOMAS BANGALTER - LE 113 FOUT LA MERDE (2002) > IRREVERSIBLE - BO (2002)

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  • > STARRING > ALEX > BELLUCCI > MARCUS > CASSEL > PIERRE > DUPONTEL > LE TENIA > PRESTIA > EX-BOUCHER > NAHON > STEPHANE > DROUOT > MASO > COSTES > MIKE > GONDOUIN > MOURAD > KHIMA > LAYDE > HELLAL > COMMISSAIRE > NATO > CHAUFFEUR TAXI > FESCHE > CONCHA > JARAMILLO > INSPECTEUR > LE QUELLEC > ISABELLE > GIAMI > FATIMA > ADOUM > JANICE > FOULAUX > STORY > NOE > DIRECTION > NOE > PRODUCTION > ROSSIGNON / NORD-OUEST PRODUCTION > GRANDPIERRE / ESKWAD > ORGANISATION > THERY-LAPINEY > GAIDDON > CANAAN > SELLERON > TECHNICS > BOUCROT > DESIGN > DERDERIAN > NOUBLANCHE > CASTING > GRANT > LEROUX > COPRODUCTION > CHIOUA / STUDIOCANAL > CASSEL / 120 FILMS > NOE / LES CINEMAS DE LA ZONE > PARTICIPATION > CANAL + > INTERNATIONAL SALES > MARAVAL > DE LA MATA / WILD BUNCH > DISTRIBUTION > CELERIER > MARS FILMS > JAPON NAKAGAWA / COMSTOCK > DIRECTION DE PRODUCTION > CATOIRE > MACHUEL > DUIGOU > ROMERO > NARET > BAINOUTI > UNIT > CHABOT > LOMBARDO > BAUDART > SZUREN-MOTTET > REVOY > PARIS > GAIA > LIFSMITZ > GACHET > SAFETY > KHIMA > DEBBOUCHE > DELAHAYE > BRIKH > CANTINE > BANASZKIEWICZ > GRAND > SIALELLI > WINDSHIELD > MATHIAS > VENTOUSES > GRASSIN > LIGHTS > DEBIE > CAMERA > NOE > STEADYCAM > CATELAN > FOCUS > RABATE > MAUDUIT > SAADOUN > GAUBERT > BONY > BOURGADE > GRIPS > PACAUD > MOULINIE > TECHNOCRANE > CAMPBELL > GAFFERS > SZPIRO > BELAID > ODIC > FANET > COLOUR GRADING > CLEMENT > DEUSY > FILM > KODAK > LABORATORY > LTC SCANLAB > EQUIPMENT > TECHNOVISION > STILLS > RUIZ > IMAGE EDITING > NOE > ARAUD > CAUCHY > GRAPHIC DESIGN > PONTECAILLE > BOOM OPERATORS > AUDY > BUSSON > SOUND EDITING > BOUCROT > DELOOF > BONNEYRAT > FOLEY > LEPEUPLE > BECKER > MARLANGEON > GERBER > MIXING > HOLTZ > BONNARD > BERA > RECORDERS > COSSON > BOULOT > SET DESIGN > JUTEAU > SOLER > BAYART > CASTELLO > DUFOURNEAUD > HABER > CHRETIEN > ZAMPARUTTI > ROZENBAUM > GRAS > JAVEL > BOUTILLIE > LOUBET > BARRENECHEA > GARDEUR > GERY > COSTUMES > CAMBIER > CALANDRE > BIGOT > LY CHENG BORN TEA > ALEX'S DRESS > DOERING > LOTZ > HAIR STYLISTS > CHAVIALLE > TORTEREAU > VFX > CHABRIER > BLED > RAMDAM > LE ROCH > CROS > ROUXEL > KOLASINSKI > FOURMOND > RICHARD > BOUINEAU > ALLEGRE > COUREAU > LOUIS-MARIE > MACHURET > ROUSSEL > VIDAL > CHARRIER > DELCLOY > VALDU > HAJJIOUI > MOLIERES > ASSELIN / MAC GUFF LIGNE > MAKE UP FX > SPADACCINI > GASTOU > FERRY > MOREAU > PETIT > STUNTS > AYROLA > ARNAULT > POSTER OF 2001 : A SPACE ODYSSEY > COURTESY OF TURNER ENTERTAINMENT CO > PAINTINGS > L.F. NOE > J. DE LA VEGA > MUSICS > SYMPHONIE N°9 EN D MAJEUR - ADAGIO > MAHLER > KOKA MEDIA > SYMPHONIE N°7 EN A MAJEUR OP.92 > BEETHOVEN > KOKA MEDIA > LA QUEULEULEU > PERFORMED BY BEZU (G. LUX / G. TEMPESTI) > EDITIONS MASTER MUSIC / FIL ROUGE > MON MANEGE A MOI > PERFORMED BY ETIENNE DAHO (JEAN CONSTANTIN / NORBERT GLANZBERG) > LES NOUVELLES EDITIONS MERIDIAN > TEMPUS EDAX RERUM > IRREVERSIBLE > RECTUM > STRESS > NIGHT BEATS > OUTRAGE > DESACCORDS > THE END > BANGALTER > ZOMBA MUSIC / DAFT MUSIC > SPINAL SCRATCH > OUTRUN > VENTURA / INTO THE TUNNEL > EXTRA DRY > (BANGALTER) > ZOMBA MUSIC / DAFT MUSIC / DELABEL EDITIONS > ORIGINAL SOUNDTRACK AVAILABLE ON ROULÉ > © 2002 > NORD-OUEST PRODUCTION / STUDIOCANAL FRANCE / 120 FILMS / LES CINEMAS DE LA ZONE > VISA N° 103.528 > DEPOT LEGAL 2002

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POSTERS

Irréversible was  the first time Gasar Noé and his poster designer Laurent Lufroy worked together. Since then, he designed all of his feature films posters and even made a few cameos (Love, Climax ou Lux Æterna). With Gaspar Noé's agreement, Laurent Lufroy unveils us his poster concepts rejected in 2002.

SCRIPT

Sur un fond de tic-tac, un générique unique et succinct, tel ceux des vieux films des années 50, précède le titre qui apparaît sur fond noir : IRREVERSIBLE puis un carton : Le temps détruit tout

C'est les premiers rayons de l'aube. Le chef de la police se dirige vers l'entrée d'une impasse au fond de laquelle se trouve un club homo, nommé "Rectum". Des policiers sont massés devant, visiblement prêts à une intervention. Le chef de la police lance ses ordres et ceux-ci investissent la boôte d'où ils sortent Pierre, menotté et couvert de sang, et Marcus étendu sur une civière et tout aussi ensanglanté. Puis le chef de la police entre à son tour dans la boîte. 

Un peu plus tôt : Pierre et Marcus montent dans un taxi et demandent à aller au "Rectum", la boîte homo. Le chauffeur, énervé par le ton hystérique de ses deux clients, exige plus de précisions qu'ils sont incapables de donner. Le chauffeur de taxi s'énerve, les deux autres aussi. L'homme finit par refuser de les conduire où que ce soit et les fait descendre sous un échangeur du périphérique. S'ensuit alors un violent échange verbal au cours duquel Marcus profère toutes sortes d'insultes racistes et le chauffeur des homophobes. Le chauffeur, à bout de nerf, sort de son taxi, une bombe lacrymo à la main dont il s'apprête à les arroser. Pierre réussit à s'en emparer, et Marcus, la lui arrachant à son tour, la vide sur le visage du chauffeur. Tandis que l'homme, suffoquant, s'effondre sur le bas-côté, Pierre et Marcus dont la rage ne s'est toujours pas calmée, s'emparent du taxi. Un peu plus loin, ils accostent des jeunes toxicos homosexuels qui tapinent sur le bord de la route, et les interrogent. Après des plaisanteries lascives sans fin liées au nom de la boîte, l'un d'eux finit enfin par leur indiquer le chemin.


Un peu plus tôt : Sur le boulevard périphérique, Marcus et Pierre questionnent les travestis à la recherche d'un certain Guillermo Nuñez. Celles-ci les renvoient la belle Concha, plus apte à les renseigner. Après quelques échanges civilisés, Marcus, incapable de se retenir plus longtemps, menace de la défigurer si elle n'accepte pas de leur donner des informations sur ce Guillermo qui aruait violé Alex. Terrifiée, Concha finit par avouer que Guillermo, c'est elle, mais elle n'a jamais violé personne. Elle semble néanmois parfaitement au courant de l'agression et affirme que c'est "le Ténia", son ancien protecteur, qui en est l'auteur. Puis, toujours sous la menace, Concha leur lâche le nom d'une boîte, le "Rectum" où ils pourront très probablement le trouver. A ce moment là les autres travesits qui se sont aperçus de la situation s'arment de pierres et bâtons et commencent à lapider les deux "agresseurs". 


Un peu plus tôt : Pierre et Marcus finissent de se faire interroger dans une camionnette de police comme s'ils étaient des suspects possibles dans l'agression de la victime. Victime dont Marcus être le copain, et Pierre son mari. Marcus n'en pouvant plus, demande s'ils peuvent partir. Après leur avoir fait signer la déposition, les flics acquiescent et les deux hommes sortent dans la rue. Une fois dehors, Marcus attrape un bout de métal rouillé et regardant Pierre droit dans les yeux murmure, tel un fou : "Ce Nuñez, on va le trouver, le pédé, on va le saigner, crois-moi". Pierre ne répond rien mais serre les mâchoires. 


Un peu plus tôt : Pierre et Marcus, un peu ivres, marchent le long de la petite ceinture. Marcus se plaint du caractère d'Alex et Pierre se moque de lui : "Que tu le veuilles ou non, c'est elle qui porte la bite". Alors qu'ils passent devant une ambulance et des voitures de police amassées au bord du boulevard périphérique, ils surprennent une conversation entre deux policeiers au sujet des affaires d'un dénommé Guillermo Nuñez qui traînaient dans le tunnel, près de la victime. Ce Nuñez aurait déjà été "verbalisé" par les flics en train de tapiner derrière le cimetière des Batignolles. Marcus soudain nerveux, essaye de se renseigner davantage. Apparemment, une femme a été agressée dans le passage souterrain. Violée et défigurée par les coups, elle serait dans le coma. Pierre et Marcus, immédiatement déssoûlés, se regardent dans une angoisse grandissant. Le cœur de Marcus se met à battre. N'y tenant plus, il profite d'un moment d'inattention des flics pour sauter la barrière et se glisser dans le souterrain. Pierre, lui, attend dehors. Des badauds supposent que la victime doit être une des putes du quartier. Soudain, des hurlements de désespoir retentissent provenant du souterrain : c'est Marcus. Aussitôt, Pierre devine tout et se rue à son tour dans le passage, malgré le cordon des agents qui tentent de le retenir. Il parvient jusqu'à Marcus qui pleure à gorge déployée, à genoux devant la civière sur laquelle gît Alex(andra) dans le coma et défigurée. Le périmètre de l'agression a été soigneusement délimité et la silhouette de la victime dessinée à la craie parmi les traînées de sang. 


Un peu plus tôt : Alex, rayonnante en tenu "disco-romaine", dit au revoir à une amie au bas d'un immeuble où a lieu une fête. Elle vient de se prendre la tête avec son copain, trop nase lorsqu'il boit. Elle se retrouve alors le long du boulevard périphérique, à chercher un taxi. Conseillée par de jeunes prostituées assises sur des capots de voiture, elle emprunte un passage souterrain qui traverse le boulevard. A l'intérieur, un couple est en train de se disputer. L'homme n'est autre que celui qui se trouvera à côté du "faux" Ténia au moment de la future mise à mort de ce dernier. Il se met à frapper Concha. Celle-ci appelle à l'aide Alex qui prend sa défense et s'attire alors la fureur du Ténia. Concha s'enfuit, renversant le contenu de son sac dans sa précipitation. Resté seul avec Alex, le Ténia la menace d'un cutter et finit par la violer sauvagement. Profitant d'un moment iù il se relâche, Alex tente de s'enfuir. Mais le Ténia la rattrappe et s'acharne sur elle à coups de pieds et de poings. 


Un peu plus tôt : Alex danse, euphorique au milieu d'une belle fête. Non loin d'elle, Pierre et un petit groupe écoutent, pliés de rire, les blagues graveleuses de Romain. Ce dernier enchaîne abruptement sur l'histoire d'un clown qui s'est fait aplatir la tête dans un cirque à coups de marteau. La chanson se termine. Alex, refusant des ecstasies à Marcus parce qu'elle doit travailler le lendemain, va chercher à boire et avisant une amie enceinte, se met à discuter avec elle. Pierre les rejoint, bientôt suivi de Marcus, et tous trois écoutent la fille décrire les joies de la grossesse. Quand elle s'éloigne, Marcus se lance dans une critique de la copine de Alex qui, au vu de sa vie sans direction, aurait mieux fait d'avorter. Un peu bêtement, il en rajoute. Alex s'énerve violemment contre lui. Le ton monte et elle menace de quitter la fête. Pierre la retient encore un peu, lui disant que l'âge la rend chaque fois plus belle. 

Un peu plus tôt : A la tombée de la nuit, Alex, Pierre et Marcus marchent le long d'un parc. Pierre, très bavard, parle du comportement des humains qu'il compare à celui, très proche, des singes ou des souris. Puis il enchaîne sur la superiorité de l'homme, capable de raisonner ses instincts naturels. Bien que ses propos soient intéressants, ils semblent saouler Alex qui l'interrompt. Après un silence, Marcus finit par dire en regardant Pierre : "En tout cas, je suis content qu'on fasse la paix". Pierre, sur un ton détaché, répond que si Alex l'a quitté, il s'est agi que de sélection naturelle et qu'il ne peut en vouloir ni à Marcus, ni à Alex. Et puis, il en est déjà à la moitié de sa vie, il ne va pas gâcher le reste à ruminer ses frustrations. Alex enchaîne alors sur le sujet du temps et de la perception ultra fragmentaire qu'en a l'homme. Elle leur parle longuement d'un livre qu'elle est en train de lire, écrit par un scientifique qui croyait aux prémonitions et qui, notant ses rêves tous les matins, avait fini par découvrir des analogies flagrantes avec ce qui lui arrivait dans la journée.


Un peu plus tôt : Le téléphone sonne, réveillant Alex et Marcus, enlacés sur leur lit à moitié nus, comme après un acte amoureux. Pierre laisse un message disant qu'il sera chez eux dans 40 minutes puis raccroche. Alex raconte alors à Marcus avoir fait un rêve super bizarre avec un tunnel tout rouge qui se cassait en deux, rêve peut-être dû au fait, ajoute-t-elle en plaisantant, que ses règles ont du retard. Sans prêter attention à ses propos, Marcus affirme qu'il est content de revoir ce soir son ancien ami Pierre à qui il aurait piqué sa femme. Alex, un peu choquée d'être considéré comme un objet, répond qu'il n'a rien piqué du tout. C'est elle qui a décidé, après des années de rapports intellectuels, qu'elle avait besoin d'un peu plus de charnel. Marcus, à son tour un peu vexé, lui demande si elle le prend pour une bite. A quoi elle répond en riant : "pour un réservoir à sperme". Ils rigolent tous les deux et il la chatouille. Puis la radio émettant une musique entraînante, ils se mettent à danser dessus. Marcus, heureux de vivre, lui demande si elle ne trouve pas leur nouvelle maison trop belle. Puis il veut savoir si elle est toujours partante pour le Brésil. Alex craint que ce soit trop violent et propose à la place Tahiti. Le morceau finit, elle part se doucher tandis que Marcus enfile ses vêtements et  lui crie qu'il descend chercher des bouteilles pour la fête. Dans la salle de bain, Alex ouvre la boîte d'un test de grossesse et après avoir lu les indications, se dirige vers la cuvette des toilettes et pisse sur le test comme il est indiqué. Puis elle attend le résultat, comptant trente secondes : la couleur apparaît, indiquant qu'elle est enceinte. Le cœur battant, elle sort de la salle de bains et se dirige vers la fenêtre du living. Une musique ultra-sentimentale passe à la radio. Tout en fixant le parc qui s'étend en face de leur appartement, Alex laisse couler des larmes de joie. 

Un peu plus tôt : Sur le gazon, dans le parc en face de l'appartement d'Alex, deux petites filles de deux ans, nues, jouent dans un petit bassin gonflable rempli d'eau et s'éclaboussent. Près d'elles, une adolescente, certainement leur baby sitter bronze timidement dans son bikini. Alex, en tenue estivale et fleurie, est couchée dans l'herbe un peu plus loin. Elle observe un moment les enfants, fascinée. C'est un doux après-midi ensoleillé. Les oiseaux chantent. Les fleurs brillent de mille couleurs. Puis, respirant profondément 'air frais du parc, Alex se remet à lire son livre, intitulé : "An experiment with time" de J.W. Dunne. 

Puis un carton : Le temps révèle tout.

StudioCanal 2002

 
 
 

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