Irreversible (2002)

Another filmmaking wave means another bout of undeniable excellence. At the forefront of ‘New French Extremity’ is a picture of such unfathomable brutality and cruelty, but also a true study of the very fringes of humanity many frequently must grasp at. Of course we are commenting on Gaspar Noe’s masterpiece Irreversible; one of the most ground-breaking and essential releases of the 2000s. There is simply no denying that this title borders on the unwatchable – it is a startlingly bleak and controversial saga; a neon-drenched, violence-splattered and hazy-eyed exploitation which as is psychologically assaulting as it is thematically. However rarely is cinema this invasive and depraved, yet so inherently honest and moral. Noe’s opting for presenting all 96 minutes in reverse entirely alters the messages and themes.

Often viewers only recall two pivotal – and indeed incredible – sequences in Noe’s film, and perhaps that is somewhat understandable, but the reason Irreversible is so important is that it embodies a filmmaker really trying to push the boundaries of the medium. The framing employed, the schizophrenic cinematography, the whurring soundtrack from Daft Punk’s Thomas Baltanger, the nauseating camera angles; every second of footage here is experienced, nae survived, not watched. Whilst this picture is extremely testing to even the hardest-edged spectators, it is a work that all should see; it expertly confirms why film is such a diverse and expansive art form, and indeed will render you solid against any much in the future. You’ll frequently begin exclaiming “yeah it’s bad, but nowhere near as bad as Irreversible…” after forthcoming movies.