Gaspar Noé


Gaspar Noé Calls Watching ‘Gravity’ on Drugs ‘the Best Cinematic Experience of My Life’

Click here to read the full article. In 2020, Gaspar Noé suffered a brain hemorrhage that sent the Argentine filmmaker to the hospital and almost killed him. But the whole experience was not without its perks. “Watching ‘Gravity’ on morphine was the best cinematic experience of my life,” Noé said in a new interview with The Independent. While recovering in a Paris hospital room, Noé watched Alfonso Cuaron’s 2013 space drama, which stars Sandra Bullock as an astronaut forced to survive by herself after an accident leaves her stranded. The film’s stunning cinematography from two-time Oscar winner Emmanuel Lubezki, combined with the...
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Gaspar Noé Hated ‘No Time To Die’, but Loved ‘Joker’ and ’Arrival’

Bilge Ebiri has a must-read interview with Gaspar Noé over at Vulture. Noé hasn’t been shy in his distaste for Hollywood movies of recent years, but he further elaborates his criticisms here by citing some examples:. There’s not one [movie I liked] that comes immediately to my...
Picture for Gaspar Noé Hated ‘No Time To Die’, but Loved ‘Joker’ and ’Arrival’
The Independent

Gaspar Noé: ‘Watching Gravity on morphine was the best cinematic experience of my life’

Two years ago, Gaspar Noé had the best cinematic experience of his life. He was watching the 2013 blockbuster Gravity on a tiny television from a hospital bed in Paris. The French-Argentine filmmaker had suffered a brain haemorrhage and was doped up on morphine. “I enjoyed that movie so much!” he enthuses in earnest over Zoom. “The whole room was spinning; it was like I was in a womb. I was so happy.” Doing a “load of ketamine” will likely yield similar results, he adds.

Gaspar Noé on confronting death in moving drama Vortex & how he enticed Dario Argento to get involved…

There are few filmmakers quite like Gaspar Noé. The French director, renowned for bushing boundaries, in a confrontational, creative way, is back with Vortex, one of his more understated offerings, and yet one that is no less challenging for the viewer. To mark the film’s release we had the pleasure of speaking to the director on Zoom, as he talks about spending so much time in this claustrophobic apartment that makes up the backdrop for this suffocating drama. He talks about the importance of the film’s set design, his decision to shoot this in split screen, and why he feels it’s important to explore the notion of death in an open and honest manner. He also speaks about directing the legendary Dario Argento – and how he convinced the Italian auteur to sign on to the project, while he discusses what may be next, in this always-surprising career.
Roger Ebert

Of the Same Matter: Gaspar Noé on Vortex and Lux Aeterna

With indomitable fury, death closely followed the life of Gaspar Noé over a few months between 2020 and early 2021. During that period, the Argentine director lost three men dear to him—all distinct father figures and/or instrumental agents in his artistic development—and experienced a serious medical emergency that could have cost him his life.
Paste Magazine

Gaspar Noé Wants Us to Lose Control

Lux Æterna shares a number of similarities with Vortex, the other film from Gaspar Noé which hit theaters this month. This is not limited to the fact that both films employ a split-screen gimmick. When I first watched Vortex at last year’s New York Film Festival, I felt that the split-screen technique amounted to little more than just that: A gimmick. There didn’t seem to be any real benefit or feature to the film-watching experience enhanced by halving the screen, as we witness an elderly couple (played by giallo director Dario Argento and French actress Françoise Lebrun) slowly decay from their inability to take care of one another. A lot of the time, the dual cameras are not even depicting two separate situations in separate settings, but the same one from a slightly different angle. And, though aware of Noé’s nihilistic throughline, I was also not impressed with the film’s approach to portraying old age and death. I am, however, fond of a feel-bad experience, and Noé’s Climax—a real downer—works for me completely.

Gaspar Noé On ‘Vortex,’ ‘Lux Aeterna,’ “Warm Cruelty,” Dario Argento, Modern Blockbusters & Much More [Interview]

Four years, two films, and one near-fatal experience after his last feature, writer-director Gaspar Noé has a lot to share. The experimental Argentinian filmmaker – who’s built his career in France over the past 25 years – had a brain hemorrhage in between the 2019 Cannes midnight premiere of “Lux Aeterna,” his assaulting, intellectual 52-minute strobe light thriller about a witch shoot from hell, and the making of his next film “Vortex,” a patient, heartrending, nearly two-and-a-half-hour dementia drama. Needless to say, a lot changed from one film to the next.

Interview: Gaspar Noé on the Split-Screen Spectacles of Lux Æterna and Vortex

Conceived and created at two radically different times, the two latest works by Gaspar Noé will wash up on American shores in consecutive weeks. The first, Lux Æterna, began as a Saint Laurent-commissioned short film project that spiraled outward into a 52-minute meta-movie about the connection between witchcraft and filmmaking. The second, Vortex, arose from Covid-related restrictions confining his camera to a limited scope.
Houston Chronicle

Gaspar Noé subverts his history with quiet, compassionate 'Vortex'

The cinematic worlds of Gaspar Noé are bursting with people who, in the pursuit of ecstatic highs, sink to abominable lows. The depths into which the French filmmaker plunges his characters are typically fueled by drugs and sex, bathed in neon hues and characterized by exhilarating camera work that swoops in, around, below and on top of his subjects.

Moviegoing Memories: Gaspar Noé

Moviegoing Memories is a series of short interviews with filmmakers about going to the movies. Gaspar Noé's Vortex is MUBI GO's Film of the Week in the US for May 6, 2022 and in the United Kingdom for May 13, 2022. NOTEBOOK: How would you describe your movie in...
Stamford Advocate

‘Lux Æterna’ Review: Gaspar Noé Takes Audiences on a Witchy, Twitchy Backstage Tour

Cinema is such a costly medium that directors have little chance to experiment between features. It’s not like music or painting — relatively low-cost art forms whose practitioners can try new techniques in the secret obscurity of their studios until their bold ideas are ready to be shared. Making movies takes a crew, and equipment, and actors; all of that takes money, which in turn obliges directors to do their R&D in public, on projects that critics can and do hold up to unfair scrutiny.
Washington Square News

Q&A: Filmmaker Gaspar Noé knows he won’t be remembered and doesn’t care

Spoiler warning: This article includes spoilers for “Vortex.”. Everyone dies. Nothing will be remembered. These are the ideas circulating in Gaspar Noé’s head two years after surviving a brain hemorrhage. Then again, death has always been present in Noé’s work. Whether it’s the DMT-driven investigation of life after death in “Enter the Void” or the outbursts of violence among drug-addled mania in “Climax,” death has remained the staple binding Noé’s filmography together.

Gaspar Noé On Directing ‘Vortex’ And Dario Argento – Specialty Box Office

Click here to read the full article. Vortex — which opened this weekend to a full house at NYC’s IFC Center — has an unusual star, Dario Argento. Here’s how the film’s helmer Gaspar Noe convinced the iconic Italian horror movie director into his first lead acting role. “There were three reasons” he said yes, Noe told Deadline. “The first one, he said, because you are my friend and I like your movies.” [Noe has known Argento for 30 years and is friendly with his daughter, Asia Argento.] “The second and the third, because I told him that I would not...

Gaspar Noé on dementia in "Vortex," witches in "Lux Æterna" and the "shamanic side to cinema"

Gaspar Noé's new film, "Vortex," is sure to make audiences uncomfortable — but not in the way his earlier, outrageous films, "Irréversible," or "Climax," have done. Here, the Argentine-born, France-based filmmaker is depicting the very real and very painful moments in the lives of an elderly couple (Dario Argento and Françoise Lebrun). She suffers from dementia and is on the decline; he too, has health issues.