If you know anything about Noé’s oeuvre, you’ll have an idea what’s to come: a frantic mix of sex and violence and total anarchy. The story itself is fairly simple, following a group of drugged dancers and the fallout of their paranoia and suspicion over who’d put them through this. Climax feels like he’s learned how to bring his best talents together into a satisfying package. It’s undoubtedly a disgusting piece that doesn’t shy away from the horror Noé’s delivered in previous movies, but here you’re not left with the overwhelming sense of being shocked for the sake of it. It feels fresh and confusing-like a long car crash you can’t take your eyes off as you wonder what’s happening and why. The ‘musical horror’ isn’t a popular or well-established subgenre, however, so Noé doesn’t have a huge amount of competition… but Climax is the perfect vehicle for him to express his ideas and creativity in a glorious mishmash of song-and-dance-and-violence. His latest work, Climax, offers a visual treat as well as a delightful soundtrack, with a storyline that stays with you afterwards. With the great Stanley Kubrick ( 2001: A Space Odyssey) cited as one of his main inspirations, Noé comes across as a filmmaker who wants to rise above easy shocks and deliver something more creative in the industry. While directors like Tom Six ( The Human Centipede) and Lars von Trier ( Antichrist) have arguably played up their assumed ‘roles’ in the industry with their projects, not everyone wants to be tied down by previous work and pigeonholed as someone only capable of shock value. With a reputation built on such a controversial piece of work, it’s hard to break away from heightened expectations and fans wanting something equally as thought-provoking. Gaspar Noé has certainly made a name for himself over the years, especially off the back of Irréversible (2002), a notorious film considered so disgusting by many they had to turn it off.
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