Plakat za film Ljubav, 2015. A poster for the film Želim samo da Love, 2015 me (ne) volite (wbd)

napisao written by I Just Want You

Željko Luketić (Not) to Love Me

portret portrait Rick Loomis, fotografije photography by Arhiva / Archive Canal+ (cp); Arhiva / Archive Les Cinémas de la Zone (cz); Los Angeles Times Arhiva / Archive Wild Bunch Distribution (wbd)

autor ¶ In the 1930s, film audiences were frightened by Dracula’s and author Frankenstein’s, in the 1940s, Abbott and Costello used the pair to keep their audiences in stitches, whereas in the 1950s, there were giant tarantulas and the fear of nuclear war. Zombies were born a decade later, but the horror genre flourished anew in the freedom-loving 1970s. It is in this sequence that the Canadian documentary Why Horror? (2014), through a story about the social acceptability of a movie fan, tries to speak about what is at the same time the universal question of that part of film history: why we are afraid and why we like to be frightened even more. The aforementioned film offers a warm American story about how confronting our primordial and unconscious demons is precisely the way to counter those fears bravely and directly. What it lacks, however, is something that, in the art of filmmaking, has been maturing for a long time and in detail, something for which the origin of the horror genre is just the inspiration, and which manifests itself even more potently in Gaspar Noé

198 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 199 Kadrovi iz filma Ulaz u prazninu, 2009. Stills from the film , 2009

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¶ Tridesetih godina prošloga stoljeća filmsku su publiku plašili thrillers, dramas, melodramas, even pornography. It is, of Sintagma koja se možda najčešće A syntagm that is perhaps most fre- Dracule i Frankensteini, četrdesetih su ih upravo time nasmi- course, difficult for the authors of a documentary feature film javali Abbott i Costello, dok su pedesete popratile divovske to start dealing with theory and all the derivations of the motif, pojavljuje u recenzijama Noéovih quently found in critical reviews of tarantule i strah od atomskoga rata. Desetljeće kasnije rađaju but it was them who offered an in-many-ways interesting djela je napad na osjetila Noé’s films is assault on the senses se zombiji, dok se sloboda sedamdesetih odrazila i na procvat framework from which, at the beginning of the millennium, žanrovskih naslova strave i užasa. Upravo u ovome slijedu, derived the New French Extremity. ¶ The key title for that new kanadski dokumentarni film Why horror? (2014.) pokušao je school of film thought was Irréversible (2002) by Argentine- preko priče o socijalnoj prihvatljivosti jednog fana progovoriti French filmmaker Gaspar Noé. His recent film Love (2015) has o onome što je ujedno i vječno pitanje tog dijela filmske povi- come, in its uncensored form, to local cinemas. An artistic pro- jesti: zašto se plašimo i zašto, još više, volimo da nas plaše? vocateur, an agent of the pornographic underground, or a radi- došla i do ovdašnjih kina. Umjetnički provokator, agent por- this new cinema of the body, but if we include the term ordeal Spomenuti film ponudio je toplu američku priču o tome kako cal auteur? Perhaps all of the above, but he is definitely one of nografskog podzemlja ili radikalni auteur? Možda i sve od in this description, it also symbolizes discomfort, temptation, je suočavanje s našim primordijalnim i nesvjesnim demonima the authors owing to whom, in its current edition, the Oxford toga, ali svakako jedno od imena zbog kojih je Oxford Dicti- anguish and fear. The danger and the dark side of human exist- upravo onaj put da se tim strahovima hrabro i direktno kon- Dictionary of Film Studies has officially included the New onary of Film Studies u ovogodišnjem izdanju i službeno ence will certainly attract fans of the horror genre from the very trira. Međutim, ono što mu je nedostajalo jest nešto što je u French Extremity as its entry, adding to it an even more potent uvrstio New French Extremity u svoj pojmovnik, dodavši mu beginning of the story. His work, however, completely eludes filmskoj umjetnosti dozrijevalo dugo i detaljno, nešto čemu synonym: ordeal cinema. It is a trend with an increasing number još i potentniji sinonim ordeal cinema. Struja je to u kojoj se the dictates of the genre, even though he himself, as someone je žanrovsko ishodište horora tek inspiracija, a manifestiralo of male and female filmmakers, such as Catherine Breillat, Claire nalazi sve više filmaša i filmašica, poput Catherine Breillat, who grew up watching Kubrick’s films, King Kong and the se još potentnije u trilerima, dramama, melodramama, pa čak Denis, Olivier Assayas, Bruno Dumont, Damien Odoul and Claire Denis, Oliviera Assayasa, Bruna Dumonta, Damiena exploitation wonders of the 1970s and 1980s, acquired his pre- i pornografiji. Teško je naravno jednome dokumentarcu ući u Philippe Grandrieux, whereas its geographical scope widens to Odoula i Philippea Grandrieuxa, dok se geografski okvir širi i sent ideas precisely from these sources. ¶ A syntagm that is teorijske vode i sve derivacije motiva, no baš su one više- include the whole of Europe. The name Gaspar Noé is perhaps na područje cijele Europe. Gaspar Noé javnosti je najpoznatiji perhaps most frequently found in critical reviews of Noé’s films struko zanimljiv okvir iz kojega je početkom milenija nastao best known to the general public because of his willingness to moguće i zbog vlastite spremnosti da svoje metode rada is assault on the senses. The humiliation of audience is also novi francuski ekstremizam. ¶ Ključan naslov te nove škole openly share his methods and, in doing so, even further provoke javno podijeli i tako još više izazove zazor onih koji ovakav often used. The latter is probably the key to the success of this filmskoga mišljenja je Nepovratno (Irréversible, 2002.), aversion among those who consider such, as more accurately cinéma du corps, kako ga još točnije naziva teoretičar Tim filmmaking approach. Namely, the idea is to involve the audi- argentinsko-francuskoga redatelja Gaspara Noéa, čija je defined by the theorist Tim Palmer, cinéma du corps (cinema Palmer, smatraju vulgarnim i uvredljivim. Noé je lakmus-papir ence itself in the body of the film and to persuade them to recentna Ljubav (Love, 2015.) u svom necenzuriranom obliku of the body) to be vulgar and offensive. Noé’s work symbolizes ove nove kinematografije tijela, ali i neugode, iskušenja, muke experience what the actors experience themselves. This type

200 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 201

Kadrovi iz filma Seul contre tous, 1998.

Stills from the film I Stand Alone, 1998

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i straha, uvrstimo li engleski ordeal u opis. Opasnost i ona of media experience is nothing new at all; it was already present opet, poručuje svojoj publici kako olakšanja nema. I cijeli kor- time. Gaspar’s seemingly pretentious story, with artistic ten- mračna strana ljudskog postojanja privući će dakako i one in the aspirations of early avant-garde and pus događaja u tome filmu ispričan je inverzno, prateći zbi- dencies at the level of 2001: A Space Odyssey (because of fanove horora s početka priče, no njegov opus posve izmiče authors, whose aspirations, of course, Gaspar records alto- vanja kronološki unatrag, pri čemu neugoda biva naglašenija which, according to him, he started making films in the first žanrovskim zadatostima, iako je i on sam, kao netko tko je gether frequently. Yet it seems that he has succeeded in fulfill- jer informaciju o onom što će se dogoditi promatrač zna place), is set in neon-lit nocturnal Tokyo, where everything odrastao na Kubricku, King Kongu i eksploatacijskim čude- ing that intention, not without metaphorical victims, of course: unaprijed. ¶ Snimivši Ulaz u prazninu (Enter the Void, 2009.) seems intrinsically artificial. His idea about karma and reincar- sima 70-tih i 80-tih, svoje današnje ideje formirao upravo na chiefly in the twelve-minute-long rape scene in Irréversible, in kao svoj sljedeći dugometražni naslov, Noé se još više potvr- nation becomes less extravagant, that is, it fits fairly well into takvim temeljima. ¶ Sintagma koja se možda najčešće pojav- which his camera is situated, simply and effectively, on the very đuje kao sineast posve drugačijega kova. I taj film, baš kao i the architecture of the environment, but also of kitsch, of ljuje u recenzijama Noéovih djela je napad na osjetila. Uz nju floor of the room where the violent act occurs. Thus, the eye Nepovratno, želi svoga gledatelja uvući u svoje tkivo, što i accented typographies. ¶ Naturally, Gaspar would not have se često pojavljuje i ponižavanje gledatelja, no ta je vjero- of the spectator is brought to the lower perspective, static and čini snimajući većinu filma iz subjektivnoga kadra, ali i simu- been the bad boy of the French Extremity if had he not also jatno i ključ uspjeha ovakvog filmskog pristupa. Ideja je, trapped, as if it were unable to escape. Or, as if it were con- lirajući let umrle duše slobodnim kretanjem u prostoru i vre- included probably the most unusual sex scene in the entire his- naime, uvući samu publiku u tijelo filma i pridobiti je da ono vulsed, detached, and waiting for the act to pass, like a reluctant menu. Naoko pretenciozan sižē, umjetničkih stremljenja na tory of filmmaking: the one that the spectator watches from što prolaze glumci – prođe i ona. Takav tip medijskoga isku- witness. The length of the take is atypical, and deliberately does razini jedne 2001: Odiseje u svemiru, zbog koje se, prema the inside, from the position of the future fetus. In the sex act, stva nije nova stvar; prisutan je još u težnjama ranih avan- not include shortenings, as if Noé were, again, telling his audi- vlastitom iskazu, i počeo baviti filmom, Gaspar je smjestio u the camera thus slips into the vagina, while the detail of the gardista i autora eksperimentalnog filma, koje dakako i Gas- ence that there was no such thing as a relief. What is more, all neonski, noćni Tokio, gdje sve izgleda već samo po sebi arti- penis approaching it during the intercourse is so oversized that par redovito notira. Čini se ipak da je njemu, naravno ne bez events in the film unfold retrospectively, backwards, in reverse ficijelno, pa je njegova ideja o karmičkom letu duše u novo it looks like some sort of a runaway monster from a laboratory metaforičkih žrtava, takva namjera i uspjela, ponajviše u chronological order, thus discomfort becomes more pro- tijelo izgubila na pretjeranosti, odnosno, sasvim se dobro of an atomic horror of the 1950s. This in turn is made in such 12-minutnoj sceni silovanja u filmu Nepovratno, gdje je jed- nounced because the spectators know what is going to happen uklopila u arhitekturu ambijenta, ali i kičastih, naglašenih detail that one can talk about a scientific depiction. However, nostavno i efektno rakurs kadra smješten na sam pod pro- in advance. ¶ With his next feature film, Enter the Void (2009), tipografija. ¶ Gaspar, dakako, ne bi bio zločesti dečko fran- Gaspar does not want that, as a rule, but rather sets his scenes, storije u kojoj se događa nasilni čin. Tako je vizura gledatelja Noé proves himself, even more, to be a filmmaker of an entirely cuskog ekstremizma da u film nije uključio i vjerojatno naj- as he says, in the beauty of sex and life. If we dismiss, on the dovedena u donju perspektivu, statičnu i zarobljenu, kao da different breed. That movie as well, just like Irréversible, wants neobičnije snimljenu scenu seksa u cjelokupnoj povijesti one hand, the petit-bourgeois attitude towards the sexual act se od nje ne može pobjeći. Ili kao da je poput nevoljnog svje- to get the spectator sucked into its tissue, which it indeed does filma, onu koju gledatelj promatra iz pozicije budućeg fetusa. as something that is non-political and belongs in the dark of doka zgrčena po strani i čeka da akt prođe. Dužina kadra by mostly using the point-of-view shot, but also by simulating Dakle, sama kamera našla se tako za spolnoga čina u vagini, the bedroom and, on the other hand, the pornographic idea of netipična je i namjerno ne uključuje kraćenja, kao da Noé, the flight of the deceased’s soul by free movement in space and dok se detalj približavanja penisa za vrijeme odnošaja toliko profit and of satisfying the sex drive by watching films, what is

202 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 203 Kadrovi iz Kadrovi iz kratkog kratkog filma Gaspar Noé polarizira filmaUne Expérience Eva, 2005. D’Hypnose svoju publiku, ali i kritičare, Télévisuelle,1995. Stills from the izazivajući reakcije od short film Stills from the short Eva, 2005 film Une Expérience potpune mržnje do iznimnog D’Hypnose (cp) uvažavanja i hvale Télévisuelle,1995 (cp) Gaspar Noé polarizes both his audiences and his critics. The reactions he provokes range from pure hatred to utmost respect and praise

predimenzionirao da je nalikovao na kakvu neman odbjeglu left is exactly Noé’s intention: the natural beauty of the act. But, naslovu Film Bodies: Gender, Genre and Excess izuzima i za iz laboratorija atomskog horora 50-tih. Ovo je pak izvedeno this naturalness and beauty in life are relative because in his Gaspara Noéa bitna poglavlja kinematografije tijela. Autorica na toliko detaljnoj razini da se može govoriti o znanstvenom inaugural film Carne (1991), Noé shows the parallel reality of tako izolira horor, melodramu i pornografiju kao tipične tje- prikazu, ali Gaspar takvo što redovito ne želi, nego svoje suffering and pleasure, by combining the scenes of a butcher lesne žanrove, odnosno one žanrove koji i kod gledatelja i kod scene radije smješta, sam će reći, u ljepotu seksa i življenja. killing a horse with the shots of lunch where there is a delicious filmaša imaju izrazitu i povezanu relaciju, bilo da šokiraju, Odstranimo li, s jedne strane, malograđanski stav o seksual- steak on a plate. The connection and the associative array are uzbude, uznemire ili izazovu doslovnu tjelesnu nelagodu. nom činu kao nečemu što je nepolitično i pripada u tamu typical weapons of the avant-garde, but also of the Surrealists, Melodrama kao tear-jerker tako izaziva suze, horor je fear- spavaće sobe, a s druge, pornografsku ideju zarade i zadovo- which the Algerian cowboy, as he is referred to by his colleague jerker ili izazivač straha, a pornić tek jerk-off materijal. Gas- ljavanja nagona filmom, ostaje nam upravo ono što je Noé i Harmony Korine—even though Gaspar is not Algerian—gave parova simbolika u Nepovratnom ide i korak dalje: klub u namjeravao – iskonska i prirodna ljepota čina. Međutim, ta to the New Extremists thus making them their main distinctive kojemu se silovanje događa zove se Rectum, a hodnik kao prirodnost i ljepota u životu su relativne, jer Noé u svom feature that differentiates them from the mainstream. Horror, oblik i mjesto ima konotaciju otvora, možda i ulaza u pra- nastupnom filmu Carne (1991.) pokazuje paralelnu stvarnost however, continues to frighten. The cinéma du corps, on the zninu. Bliskost i ponekad očigledna simbolika kojom Gaspar patnje i užitka, spajajući prizore mesara koji ubija konja s other hand, has a number of things to say about our reality. obasipa ni krivog ni dužnog promatrača, naći će u njegovu kadrovima ručka, u kojemu je na tanjuru slastan odrezak. Philippe Azoury, a critic of Cahiers du Cinéma, calls this stylistic najnovijem filmu još jedan umjetnički, ali i tehnološki trik. Veza i asocijativni niz tipična su oružja avangarde, ali i nadre- procedure a purist approach to film, an approach which com- Kako je i sam kazao, filmovi su mu igračke u kojima isproba alista, koje je alžirski kauboj, kako ga naziva kolega Harmony plements the film and contemporary art in general.¶ Apart nešto novo, pa je tako 3D tehnologija u kojoj je snimljena Korine (iako Gaspar nije iz Alžira), ustupio novim ekstremi- from Tim Palmer, who thoroughly explores these new film Ljubav (Love, 2015.) upravo onaj moment u kojemu želi da stima kao glavnu razliku od matice. Pa tako horor i dalje pri- iconoclasts in his book Brutal Intimacy, the work of Linda Wil- gledatelj sudjeluje, posebno u scenama eksplicitnog seksa. marno plaši, dok cinéma du corps ima o našoj stvarnosti liams is also interesting. In her essay, Brutal Film Bodies: Gender, Povijest inovacija ujedno je i povijest filmske umjetnosti, jer štošta za reći. Philippe Azoury, kritičar časopisa Cahiers du Genre and Excess Intimacy, she isolates the chapters of the Noé u srednju struju i multiplekse uvodi činjenicu koja je cinéma, o ovome će stilskom postupku kazati kako je posri- cinéma du corps that are also relevant to Gaspar Noé. Thus mnogima nepoznata. Naime, najraniji usvajači novih tehnika jedi puristički filmski pristup, onaj koji sljubljuje film i suvre- Williams isolates horror, melodrama and pornography as typical upravo su pornografi, pa su tako za probitakvhs -a 80-tih, menu umjetnost u širem smislu. ¶ Osim Tima Palmera, koji body genres, that is, the genres that are distinctly related to dvd-a 90-tih i 3D-a danas najznačajniji upravo oni. ¶ U pauzi se u knjizi Brutal Intimacy temeljito bavio ovim novim film- both spectators and filmmakers, whether they shock, excite, između svoja dva velika filma, Nepovratnog i Ulaza u pra- skim ikonoklastima, zanimljiv je i rad Linde Williams, koja u upset, or provoke literal physical discomfort. The melodrama, zninu, Noé se najviše bavio kratkometražnim formatom i tu

204 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 205 Kadrovi iz kratkog filma Carne, 1991.

Stills from the short film Carne, 1991

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također izbacio nekoliko iznimnih naslova. Dokumentarni a tear-jerker, thus brings about tears, the horror is a fear jerker filmsida iz 2006. godine zabilježio je Afrikanca oboljelog od an instigator of fear, whereas porn is just jerk-off material. Gas- side, i prema vlastitom autorovu priznanju taj ga je film od par’s symbolism in Irréversible goes a step further: the club in cijeloga njegova opusa najviše uznemirio. Znao je kako će which the rape takes place is called The Rectum; the hallway, subjekt njegova filma umrijeti, što se i dogodilo. Za omnibus as a shape and a place, has the connotation of an opening, per- , u kojemu su umjetnici poput Marine Abramović, haps even an entrance to the void. The closeness and the occa- Matthewa Barneyja i Larryja Clarka između ostalih snimili sionally obvious symbolism that Gaspar showers the innocent osam kratkih vinjeta na temu seksa, prilaže svoj rad We Fuck spectator with will find another artistic, but also technological Alone, dok godinu dana ranije opet diže prašinu filmom Eva, trick in his most recent film. As he himself says, films are his gdje u prvome dijelu cijeli film bazira na igri Eve Herzigove i toys in which he tries something new, i.e. the 3D technology nestašnog mačića. Naravno, iako Eva nije gola, njena nevina which he uses to film Love (2015), at the very moment when he eksploatacijskom tvorcu različitih naprava koje su manipu- For Destricted, a drama film series consisting of eight short igra s macom (eng. pussy), koja joj dospijeva i među noge, od wants the spectator to participate, particularly in the scenes of lirale osjetima kinoposjetitelja. Tražeći taj ultimativni spoj films that explores the topic of sex, by artists such as Marina oka onoga koji gleda učinit će glavni subjekt filma. Tako će se explicit sex. The history of innovation is at the same time the gledatelja i filma, sam Noé se čini kao netko tko bi poput Abramović, Matthew Barney and , among others, he Gasparova umjetnost dogoditi upravo tamo gdje i nastaju history of cinematic arts, because Noé introduces – into the Castlea puštao struju u kinosjedala, intenzivirajući tako made We Fuck Alone. A year earlier, he caused a stir again with interpretacije: u glavi, u podsvijesti i percepciji viđenog. Eva, mainstream and multiplexes – a fact that is unknown to many. određene scene filma i u realnome svijetu. ¶ Međutim, u the film titledEva , whose entire first part depicts Eva Herzigova kao i svi drugi njegovi filmovi, najbolje dokazuje kako tehni- In fact, it was pornographers who were the earliest adopters of svojoj obitelji Gaspar nije najveća umjetnička zvijezda. Otac playing with a mischievous kitten. Even though, of course, Eva kalije jesu tek obrt, dok tumačenja stvaraju art. Još jedan new techniques. Today, they are recognized as those who mu je slavni argentinski slikar i pisac Luis Felipe Noé, dok is not naked, her innocent game with the pussy that eventually Gasparov kratki film poprimio je obris eksperimenta u kojemu played the most important role in the establishment of the vhs mu je partnerica Lucile Emina Hadžihalilović, redateljica i also ends up between her legs, makes the spectator’s eye the gledatelj postaje drugi medij, ovaj puta možda i doslovno. format in the 1980s, the dvds in the 1990s, and the 3D. ¶ In Francuskinja BiH porijekla. S njom radi na gotovo svim svo- main topic of the film. Gaspar’s art is thus created precisely in Čekajući tako financiranje prvijenca I Stand Alone (Seul contre between his two major films, Irréversible and Enter the Void, jim filmovima, dok na onima koje Lucile sama potpisuje the place from where interpretations emerge —in the head, in tous, 1998.), koji je zapravo nastavak 40-minutnog filma Noé was mostly interested in the short film format, and also također sudjeluje. Još od završetka školovanja na višoj školi the subconscious mind, and in the perception of the observed. Carne, za francusku televiziju Canal+ snima pravi pravcati released several exceptional titles. A documentary, sida (2006), Louis Lumière, Noé snima reklame i videospotove, dok s Eva, just like all of his other films, is the best proof that tech- pokušaj javne i masovne hipnoze. Une expérience d’hypnose is a story of an African suffering from aids. He admitted that, medijima ima vrlo zahvalan odnos u kojemu se ništa ne taji. nicalities are nothing but craft, and that it is the interpretations télévisuelle iz 1995. godine tako je njegov oživotvoreni for him, it was the most upsetting film in his entire oeuvre. He Tako se redovito slikao nag i masturbirao u vlastitim naslo- that are critical to create art. Yet another Gaspar’s short film hommage Williamu Castleu kao niskobudžetnom i knew that the hero of his film would eventually die, and he did. vima (Nepovratno), zatim opisivao svoje eksperimente s takes the outline of an experiment where the spectator becomes the other medium, perhaps, this time, literally. Wait- ing to secure finance for his debut feature film, I Stand Alone (Seul contre tous, 1998), which is actually a continuation of his forty-minute-long drama Carne, he made a film about a real attempt at public and mass hypnosis for the French television channel Canal+. The title, Une expérience d’hypnose télévisuelle (1995), pays homage to William Castle, a low-budget filmmaker and exploitation creator of various gimmicks which he employed to manipulate the senses of cinema visitors. Noé himself seems like someone who, searching for the ultimate

206 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 207 Kadrovi iz filma Nepovratno, 2002. Stills from the film Irreversible, 2002

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Vizura gledatelja dovedena je amalgamation between the spectator and the film, would, simi- drogama i ayahuascom koji su mu omogućavali da snimi scenes, or to endure hardships on film sets, such as those when lar to Castle, pass electric current through cinema seats, thus pojedine scene ili pak izdrži napore na filmskim setovima, filmingEnter the Void. As an author, he claims that his films are u donju perspektivu, statičnu i also intensifying certain film scenes in the real world. ¶ Gaspar, poput onoga na snimanju Ulaza u prazninu. Autor je to koji indeed a certain shamanic, experimental and hypnotic attempt zarobljenu, kao da se od nje however, is not the biggest art celebrity in his family. His father tvrdi kako njegovi filmovi jesu svojevrstan šamanski, ekspe- at approaching people’s innermost secrets and thoughts, some- is Luis Felipe Noé, a famous Argentine painter and writer, and rimentalni i hipnotički pokušaj približavanja onom unutar- thing that he himself, as someone who lives what he preaches, ne može pobjeći his partner is Lucile Emina Hadžihalilović, a French filmmaker njem u ljudima, nešto što i sam odaje kao netko tko živi ono reveals. Often compared to Pasolini, Fassbinder and Buñuel, with her roots in Bosnia-Herzegovina. He collaborated with her što propovijeda. Često uspoređivan s Pasolinijem, Fassbin- Gaspar Noé polarizes both his audiences and his critics. The on nearly all of his films, and he was involved in those that Lucile derom i Buñuelom, Gaspar Noé polarizira svoju publiku, ali i reactions he provokes range from pure hatred to utmost The eye of the spectator is authored herself. Since he graduated from Louis Lumière Col- kritičare, izazivajući reakcije od potpune mržnje do iznimnog respect and praise. Regardless of the context of the Extremity, brought to the lower perspective, lege, Noé has been making commercials and music videos. He uvažavanja i hvale. Svaki od njegovih filmova, neovisno o each of his films is the work of a mature and innovative author has a very favorable relationship with the media in which noth- kontekstu ekstremizma, rad je zrelog i inovativnog autora, who, however, has not yet succeeded in his grand plan. It is, static and trapped, as if it were ing is kept secret. He would frequently appear naked and would koji, međutim, nije još uspio u svom glavnom planu: Gaspar namely, Gaspar’s wish to make a film that will invariably be unable to escape masturbate in his films (Irréversible), he would experiment with naime želi snimiti film kojega će bez iznimke baš svi mrziti. hated by all. Be that as it may, his efforts have not been drugs and , which allowed him to shoot certain Kako god bilo, to mu još nije uspjelo. rewarded yet.

208 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 209