Climax [Blu-ray]

Alright, many disputes of this film along with the disputes over Gaspar Noe! However he is sheer genius as always. You may not understand what is actually going on but half through the movie, everything will pull together for a wild ride of Noe's mind! Love the display of his retro favorite movies and books placed on the set during the beginning of this! Gaspar is just mind blowing on lights, characters hit the mark! Pay attention to each detail or you will miss certain key points that bring the movie together!

No monsters, no supernatural elements, nothing remotely impossible in the real world... and yet it is the single scariest movie I've seen in years. The very first moments show a portion of the results from the evil and chaos that is to come in the second half of the movie, then a decent amount of the time it is actually upbeat, with modern and creative dancing to a DJ playing quality electronic music. We drop in and out of moments of socialization between believable characters, some of whom you will probably enjoy, others who will seem annoying, but all of them we can empathize with (or at least remind us of people we've encountered).Then things begin to feel strange. We see this discomfort stirring in a few characters and as those feelings grow for them, it begins to creep in to us as the audience via the camera work, the lighting, the sound. There are very few camera cuts during this half of the movie and this translates to a eerily realistic pacing that really reinforces the dread setting in (both to the characters themselves and the viewer).Don't watch this with family, or friends who aren't into tense movies. Personally, I found myself laughing and inspired during the first half. The second half I was on the edge of my seat, usually with my jaw hanging.

Climax is listed as a horror film, but viewers will have difficulty staying awake long enough to experience what horror there is. The first half of the film is, more or less, an extended dance video (I am not making this up) performed by a cast of characters that few, if any, viewers will find likeable or even relatable. Every once in a while you come cross a horror film in which the main characters are so annoying that, within the first 10 minutes or so, you find yourself hoping they ALL die by the end. Climax is one of those films. The key plot device is a batch of spiked sangria -- spiked with LSD -- that causes the weirdness and horror of the film's second half. Now, I ask you: What are the odds that 20 or so people taking acid are ALL going to have an extremely bad trip? I mean, nobody is going to sit there grinning and contentedly counting the molecules in their hand? But that is the premise of Climax -- every single person who drinks the acid-laced sangria goes to a very dark place and acts on their dark impulses. Once you realize what's going on, this seemingly chaotic film becomes very predictable.

Really cool, artsy French movie. Best dance scene to be featured in a film, ever. It starts around the 10 minute mark and will blow your mind. The director is known for his controversial film style, so expect something a little disturbing, in a good way. There will be some camera angles that are unorthodox and his style is unique. He is known as the “bad boy of French cinema” for a reason. Watching this movie is like being trapped in a nightmare in the very best way. Nothing beats the “high” of that first dance. I really, really enjoyed this film. I’ve rarely had a cinematic viewing experience quite like this. It transports you into another realm and it’s hard to look away. If you aren’t sure if you’ll like the movie, just watch the first 20 minutes, specifically the dance scene at minute 10. If you aren’t sold by then, then you can turn it off. But if you love arty French stuff and horror then you will adore it. The starring blonde is sensationally attractive and all the dancers are very talented. It makes it an even more interesting watch to read that it was shot with a 5 page script in a short amount of time.

Climax is a 2018 psychological horror film directed, written and co-edited by Gaspar Noé. An international co-production between France and Belgium, the film takes place in 1996 during winter, within a single building, and features a large cast of twenty-four (led by Sofia Boutella) portraying a French dance troupe throwing an after-party after a rehearsal; however, the celebrations take a darker turn when everyone becomes increasingly agitated and confused after consuming sangria laced with LSD.To best elaborate on my criticism and praise I will be exercising some creative liberty in encouraging audience members to think of ‘Climax’ as having two separate - but in some ways equal - acts.The first act is best described as a long winded commercial. In saying that I mean ‘Climax’ takes a substantially long amount of time to provide some much-needed information regarding the context in which this specific story is occurring. It is defined by the decision to include unusually long shots - some lasting twenty minutes or more - and contrasting them with vignettes that only include about a minute or two of carefully executed conversation and interactions. This may seem arbitrary at first, but this technique does at least two things for the characters in this film. On one hand, this establishes the large ensemble cast as a group that is clearly bonded with one another by a common thread of interest - in this case being the ability to perform and coordinate intricate dances in an exceptionally successful manner. When compared to the moments that give us a clue about the more personal relationships in this group have with one another it is then fair to infer that these people excel at performing in another way; capable of keeping the negative and presumptuous thoughts about one another under the surface, this makes the schismatic reservoir of conflict that ensues after easily accepted as having strongly present roots from the very start.It really shouldn't come as a surprise, but the cast members are for the most part exclusively dancers in real life. Because of this the choreography has another layer of life that a less versed individual would be capable of harboring. There's a beautiful flow of coordination regardless of what is happening on screen, and it is obvious that the cast members are unequivocally aware of the emotions their passion for dance can draw from an unsuspecting audience member. More than this, though, perhaps it is also worth mentioning that a majority of the cast had no previous acting experience up to this point in their lives, and much of their performances incorporate well-defined improvisations. Armed with an ambiguous role to play and literally no dialogue (That’s right, they weren’t given any dialogue and told to make up a majority of what is said on their own) the result is a house that resembles a glass cube: having no doors, having no windows, and presenting itself as unmanageably transparent.To say that the second act has the potential to make audience members uncomfortable would be the understatement of the year. There are tidbits of violence and abuse that are in many ways aimless, but more impressively knows how to tow the line of controversy without losing its balance. What makes ‘Climax’ stand out from other psychological horrors movies, however, is its unique rejection of jumpscares that are typically used to engage viewers with its material; it depends instead on other techniques that have a way of burrowing themselves in to a part of our minds in a way that is pervasive and unsettling. There is a bit of a “kitchen-sink” element that I think is worth mentioning when considering the ways in which these deep-seated conflicts I mentioned earlier have a way of manifesting themselves. Sure, I guess I can agree that at times it is “too much” and perhaps in many ways overwhelming, but let’s be real. . . . .Would people really remain interested otherwise? Everything - and perhaps most importantly being the enriched color schemes and choices in the soundtrack department - works to make audience members genuinely terrified of what could happen next while hoping to be relieved of the suffering its characters are ruthfully subject to.Many critics kick ‘Climax’ To the curb and call it empty because of its pacing and potentially mundane story, but the beauty of a psychological thriller is that two people can watch it and have vastly different interpretations of it.So as to be concise, there are two themes in particular that I think are worth considering before labeling this piece unnecessarily “warped” or “meaningless”.𝑯𝒐𝒏𝒆𝒔𝒕𝒚You know I said earlier that these characters have managed to master the art of presenting in a way that hides their true feelings about the people in their group? I stay a bit hung up on that, and the reason that is is because the intensity of the chaos seems exponentially related to the feelings the people in this richly complicated assembly have for one another. I certainly don't mean to bring this up in a way that potentially blames the people victimized in this film, but the implication that harboring ill-intended feelings toward a person can hurt the entire bunch isn't just reasonable: It’s freaking terrifying.𝑺𝒆𝒍𝒇-𝒆𝒙𝒂𝒎𝒊𝒏𝒂𝒕𝒊𝒐𝒏I don't think it's much of a spoiler to let audience members know that the conclusion does make an honest attempt in ambiguously revealing which character in responsible for spiking sangria with LCD. Up until this point, though, I had a thought.. . .it was a tiny thought, but it really put it really put this film in a more meaningful light for me.The thought?𝑾𝒉𝒐 𝒕𝒉𝒆 [𝒃𝒆𝒆𝒑] 𝒊𝒔 𝒇𝒊𝒍𝒎𝒊𝒏𝒈 𝒂𝒍𝒍 𝒐𝒇 𝒕𝒉𝒊𝒔?This is where ‘Climax’ starts to break the fourth wall for me, because it forced me to think of entities that would feel comfortable observing the chaos exhibited in it without actively intervening. There are many things that audience members can freely project on to this mysterious entity, but an explanation of sorts starts to emerge when reflecting on what we learn about the separate characters within the first ten minutes of screentime. Sure, they do all answer questions when interviewed openly about their separate passions for dance, but some of this dialogue reveals a layer of indifference and alienation that is also connected to their goals and dreams as well. This only naturally brings me to *my* explanation for what is behind this hypothetical camera, and I would be curious to know if anyone shares this same sentiment. ‘Climax’ is as messy as they come and hesitates to be straight forward, but in doing so manages to represent the personification of self-doubt and insecurity. An ode to existential dread, it follows the characters around like a shadow of defeat: capable of taking what is most dear and valued with little or no warning.I hear the criticisms that ‘Climax’ “essentially has no story” and I can see why some people consider it to be dismal and unsatisfying.Could this film have been more clear about the messages its viewers are supposed to take to heart? It very well could have - but the genre of psychological thriller depends on viewers to think for themselves and pick the scab that is curiosity and depth. Noé completely understands the value his audience will find in movies that embrace ambivalence and like stewing in their own thoughts. . . .And because of that,I would highly recommend this film!

Auf den ersten Blick fällt mir in Gaspar Noés Filmen vor allem die sensationelle Präsenz von Farben auf. Jedoch gehen die Absichten des Filmemachers weit über die äußere Form hinaus. Der Sohn des Malers Luis Felipe Noé aka Yuyo provoziert und verstört sein Publikum bewusst. Wir werden von den Eindrücken überwältigt, wenn wir in den Malstrom seiner farbenfrohen Visionen geraten. Auch "Climax" besitzt eine ganz eigene Dynamik. Er hypnotisiert. Pulsiert im Rhythmus der Techno Beats!Bildrauschen und Störgeräusche versetzen uns in eine andere Zeit. Eine Zeit der VHS-Cassetten und der Raubkopien. Die 90er Jahre. Angeblich basiert "Climax" auf einem wahren Ereignis. Auf einer Party im Großraum Paris fiel eine Tanzgruppe kollektiv ins LSD-Delirium. Jedoch dokumentiert Noé dieses Ereignis nicht, sondern interpretiert es neu. Der Blick den wir erhaschen ist eindeutig subjektiv und deshalb auch sehr persönlich. Gaspar Noé hat wieder einmal in seine Trickkiste gegriffen!Noé schafft es immer wieder die Grenzen des Kinos zu verschieben, aber genau dies macht es schwierig seine Filme zu empfehlen! Seine Filme sind psychedelisch, stark sexualisiert und enthalten Gewalt."Wenn man auf der Bühne steht und tanzt, fühlt man sich frei. Es gibt keine Hindernisse mehr. Es gibt keine Blicke mehr. Es gibt nur noch uns. Unsere Körper und unsere Gefühle", beantwortet Tänzerin Eva die Fragen der Choreographin Emmanuelle.Die ersten Bilder zeigen Lou (Souheila Yacoub) am Tag nach der Party. Sie trägt schwarze, schulterfreie Kleidung, stolpert über ein kahles winterliches Feld, bevor sie schreiend zu Boden fällt und, mit Blut auf ihrer Haut, eine Engelsfigur im Schnee hinterlässt. Das Weiß bildet den Hintergrund für den Abspann. Die Schrift greift die Farben schwarz und rot erneut auf; lässt sie uns nicht vergessen. Das frühe Erscheinen des Abspanns ruft eine leichte Desorientierung bei uns Zuschauern aus. Die Montage erinnert etwas an die "cut-up"-Technik des Beat-Dichters William S. Burroughs. Und weiterhin pocht die Frage in unseren Hinterköpfen: "Welchem Inferno muss die junge Frau gerade entflohen sein?"In der nächsten Szene blicken wir auf einen altes, kleines TV-Gerät - umgeben von gestapelten VHS-Hüllen u.a. Argentos "Suspiria", Żuławskis "Possession" und Fulcis "Zombie" und einigen Büchern - eines anonymen, unsichtbaren Betrachters. Er sieht sich die, vor der Party aufgezeichneten, Audition-Interviews der Tänzern an. Es scheint das chaotische Heim eines Videokids zu sein.Vor der französischen Trikolore beginnt ein Spektakel auf dem schreiend roten Tanzboden. Benoît Debies Kamera schwebt durch den Raum. Wir sehen die unterschiedliche Tanzstile der Charaktere. Erahnen ihre verschiedene Persönlichkeitstypen.Nahezu die gesamte Tanzgruppe gerät in den Sog des LSD-Horrortrips. Das Tanz-Spektakel, steigert sich zum Alptraum und gipfelt in einem Totentanz, wenn zum Finale hin die Perspektive auf den Kopf gestellt wird und die Tänzer, wie Vampirfledermäuse, von der Decke zu hängen scheinen. Noé zeigt uns Bilder aus einem Inferno, wie es einem modernen Hieronymus Bosch eingefallen sein könnte.Sofia Boutella (Selva) und Souheila Yacoub sind die einzigen Darstellerinnen in diesem Film mit schauspielerischer Erfahrung, der Rest der Besetzung besteht aus professionellen Tänzern. Noé vermeidet es eine klassische Geschichte zu erzählen. Sofie Boutella hat sich für ihre Rolle den Namen ihrer verstorbenen Großmutter ausgesucht und ein großer Teil der Besetzung benutzt einfach die eigenen Namen.

Llego antes de lo previsto. En excelentes condiciones. La persona a quien se lo regale quedó encantada. Y yo tambien 😋

This was excellent. If you love Gaspar Noe definitely get this. You need a region free player if you’re in North America

Uno dei miei film preferiti in assoluto.Sicuramente il mio preferito tra i film di Noè. I contenuti extra sono pochi, ma ciò che conto è avere quest'opera unica nel suo genere in alta definizione

To those uninitiated into the cinematic world of Gaspar Noe, his work can either be a test of endurance or merely try ones patience while straining for a gratifying pay off. With his fifth film, this approach has not altered, but the pay off might just be what you expect from such a simple synopsis as Climax possesses.A dance troupe gather together for rehearsals on a cold winter’s night and end up drinking a sangria punch spiked with LSD.It’s as simple as that, but the results are rewarding depending on the strength of your nerve and whether you can let yourself be willingly taken into a downward spiral of chaos, madness, hedonism, violence, cruelty, anguish, panic and other distressed emotional states. While you traverse through those elements you can also use your skills of detection in determining who was responsible for setting in motion the events that engulf the characters.It takes it’s time at first, easing in and letting you get to know the various personalities, but when it kicks into gear, the leash is taken off and it’s allowed to run riot. Some will be entranced, while others bored beyond belief. What some may call pretentious, others will regard as a masterpiece. But one thing that cannot be denied is the commitment and integrity of Noe’s vision of man made hell. I personally relished it. I am not a great fan of dancing and dancers generally, so I was surprised that not only did I enjoy the dance scenes but also once the dancing ended and the descent began, I felt a great deal of empathy for some of the characters and their respective fates. Some were quite heartbreaking, and others made me feel anger, fear and pity for them.The soundtrack helped keep the momentum going with flourish, as did the camera work, cinematography and the performances of the cast. The whole experience was one that stayed with me long after I had watched it. It hasn’t the extremes of Noe’s ‘Irreversible’ but is still powerful enough to evoke a response, and thankfully it refrains from being a ponderous experience like the visually enticing ‘Enter The Void’ and the underwhelming ‘Love’. Instead, this is may very well be Noe’s best film experience to date, combining his visual flair, a great soundtrack and a cast willing to go the lengths that he demands for his vision.The Blu ray has plenty of extras that are more than worth watching, and provide insights into the making of the film and the soundtrack. Additionally there is an audio commentary by Noe himself, as well a documentary on his films, music videos and more.All in all a great package from Arrow, so if you are new to Noe this is a good place to start. For those familiar, this release is a treat to be treasured.