Directed By Gaspar Noe
Starring – Sofia Boutella, Romain Guillermic, Souhelia Yacoub
The Plot – In the mid 1990’s, 20 French urban dancers join together for a three-day rehearsal in a closed-down boarding school located at the heart of a forest to share one last dance. They then make one last party around a large sangria bowl. Quickly, the atmosphere becomes charged and a strange madness will seize them the whole night. If it seems obvious to them that they have been drugged, they neither know by who nor why. And it’s soon impossible for them to resist to their neuroses and psychoses, numbed by the hypnotic and the increasing electric rhythm of the music. While some feel in paradise, most of them plunge into hell.
Rated R for disturbing content involving a combination of drug use, violent behavior and strong sexuality, and for adult language and some graphic nudity
– The perfect introduction. Noe understands that the way we open a film is vitally important to the kind of undertaking that audiences will endure throughout, and there’s no better example than the first five to ten minutes of this film, in which we see each member of the dance team being asked questions about past drug use, as well as suppressed fears, which will inevitably come into play later. Aside from this, the intro transcends what is playing out on screen by what we can identify in the depiction of the television itself that tells us all we need to understand about Noe’s influences in crafting such a unique vision. Video tapes of “Suspiria”, “Possession”, and “Zombie” are just a couple of the familiar titles that popped out at me, and when blended together made for quite the carnage concoction nightmare that Gaspar dishes out to his audience, as an absorbing student of the genre game.
– Gaspar’s one of a kind command in movement behind the lens. As was the case with his breakout smash “Enter The Void”, Noe again instills a sense of cerebral movement and conscience behind the unorthodox directions and angles that allow him to immerse us further in the dynamics of the characters and conversations that eventually come into play with the eventual dissention that comes into focus later on. As to where most film movements go front-to-back and side-to-side, Noe shifts under the characters, horizontally, upside down, and his signature go-to: above them, in order to breed unnerving atmosphere that articulately channels the surreal reality of drug-induced paranoia. It all adds up to a presentation that exceeds the limits of two-dimension cinematography, all to give the visual direction a heart-beating presence of its own in capturing the escalation and intensity of each respective situation.
– Long take photography. Another familiar trope in Noe’s filmography is the use of minimal edits that would otherwise take away from the dramatic tension of the scene or the performances themselves, and “Climax” is certainly the same in this category. For example, the opening ten minutes is a one take, choreographed dance routine, full of swaying dancers moving in and out of frame with these risky moves that could easily miscue or stumble at any moment. Because these are long take scenes, it’s a testament not only to Goe’s confidence in his actors, but also in the developing chemistry between them, for working together as one cohesive unit throughout the five weeks of filming. Likewise, there are several long takes throughout the film, some manipulated and some not, that follow different characters in and out of frame, to cover every corner of the tension growing within. I always give extra points to a director who transcends conventional storytelling edits in favor of these long-winded deliveries of dialogue and interaction that further invest you in the escalation of the madness.
– Committed performances from an immensely gifted ensemble cast. Both physical and emotional acting is to be credited here, as not only are these actors synthetically channeling familiar behaviors and transformations while being under the influence of psychadelic drugs, but also their bodily contortions vividly give off the impression of unforeseen entity possession. What’s incredible is that we as an audience never see any example of what they are tripping out to in their minds, but thanks to Noe’s risky decisions to allow the actors to interpret and manage their own trips, it is something that visually channels the blending of anxiety, panic, and paranoia respectively. It’s one of those examples where if I learned that this cast really was under the influence to properly convey the magnitude of their performances, then I would believe it without question. They truly are THAT believable.
– Humanity grounded dialogue. “Climax” was written from a five page script that Noe decided to keep limited because he wanted the conversations and interactions to feel realistic in terms of what young adults actually talk about. For a majority of it, it’s sex of course, but in a certain few characters, particularly in a brother and sister duo and two childhood best friends, we hear of their ambitions and American dreams associated with joining the group. It builds to the inevitability of confronting what would otherwise be passing mentions in a throwaway conversation, and what’s important is that its mention never feels obvious in the way it is withdrawn by us the audience. This is very much a fine representation of post-teenage interaction in the mid 90’s (The film is set in 1996), and allows this film once more to feel like a documentary instead of a feature motion picture for the form of grounded reality in conversation, that doesn’t have to appeal to coincidence or obviousness like other exposition-heavy screenplays.
– Closed-off setting. “Climax” entirely takes place during a freak snowstorm, at this French dance school, during the heart of a decade where technological advances of the modern age don’t exist. What this does is keeps the tension building inside of this no escape, no remorse, story setting to the point of suffocating levels of pressure that only further amplify the fears of being betrayed by someone amongst them. What’s vitally important is that not only is this a big place, full of endless neon colored hallways and bedroom sanctimonies, but the camera’s fluid movements that I mentioned earlier, possess an amazing responsibility in documenting these possibilities, so that us the audience can interpret a character’s direction long before we actually see it. We saw what a particular setting can do for a dance horror film like “Suspiria”, and “Climax” is certainly no different in this regard, combining dread, isolation, and growing anxiety to further enhance the claustrophobia that has damned everyone inside.
– Remixing drug interpretation. It’s refreshingly responsible to see a movie made in 2019 that accurately depicts the consequences associated with psychadelic drugs, and why the use of them is anything but a good time. Anymore it seems that drugs in cinema are a way to further enhance the comical aspect of a flat script, or serve as a convenient plot device in a film that overlooks the lasting effects of such toxins as an afterthought. The presence of these inclusions are everywhere throughout this film, never allowing you a second to free yourself from their confines, and constantly feeding into the thought process that the shield of protection gone from logical people, who lose their identities, is something we can neither control nor contain when it comes to the backlash. Films like these, while extreme in what becomes of their dreary isolation, is something that I believe should be shown to impressionable youths, who could be headed down one dark path if only for the lack of information that particular person receives before doing something that’s deemed “Cool” or “Edgy” by the wrong crowd.
– Above all, a solid dance film. These kind of movies are rarely my thing, but once in a while you will see precise dance choreography and amplifying intensity in a group’s chemistry that will make it impossible not to indulge in. Aside from the detailed introduction dance, which is unlike anything I’ve ever seen in terms of continuity, the interpretive solo dances by these flexibly gifted contortionists were something that astounded me, and reminded me just how far the dancing world has become with a new generation of dancers, who will stop at nothing to invest their bodies into surreal circumstance. The dancing in the film is sinisterly hypnotic, made even more effective when you consider that subliminally they are being controlled by something far greater than them, and it sort of feeds more into the scares of the movie when you consider that the car is running, but no one is truly behind the wheel of control.
– Entrancing presentation in production choices. Everything here is firing on all cylinders. From the neon variety of lighting effects, to the sharp sizzle of musical editing incorporated to these dance scenes, to mental heavy sound mixing, which constantly holds a presence throughout, this film is a theatrical experience that should definitely be seen on the biggest screen if only you can’t make it to a theater to check it out. This is French extremism at its finest, preserving every productional aspect to feed into the rising anxiety of the movie that we can pick up on even while sitting in the comforts of our own home. The constant Electronic Dance Music soundtrack that plays throughout constantly helps elevate the tone, and the echoing distance given to a young character’s screaming panic induced the kind of ringing nightmares that are often overlooked in the tools of tactful sound manipulating. To summarize it in whole, it’s a powerful sensory experience even if the moods you’re feeling are uncomfortable.
– Two small nitpicks. My problems with the film are miniscule at best, and I would give this film a 9.5 out of 10 if I were still giving halves, but it is what it is. One problem I had dealt with particular choices made by one character who isn’t under the influence of the drug in the same way everyone else is. I can’t comprehend for a second why this person would do the things that eventually lead to her mental breakdown, and it’s made even more complicated by the fact that we receive so little character exposition or interaction with her up to this point. My second problem is a technical matter that bothered me personally, but probably wouldn’t to the conventional moviegoer. When two characters are conversing, the editing will briefly fade to black and then kick back on with the same two characters. I have two problems with this: the first, is that if the movie is conveying the passage of time, it should use quick cuts instead of fades to black, and two, why even have an edit for a film so engaged in long takes? If it’s cutting to the same two characters, it feels like a noticeable unnecessary distraction to pad out the conversation that makes me question the improv capabilities of the two actors in frame.
My Grade: 9/10 or A