Irreversible (2002)

Delivered in reverse order, Irreversible is the story of Alex’s (Monica Bellucci) brutal rape in a tunnel. Once her boyfriend Marcus (Vincent Cassell) and ex-boyfriend Pierre (Albert Dupontel) find out what happened they go on a dangerous journey of passion and revenge. As the two navigate every disgusting corner of Paris, they will find themselves among prostitutes, whore houses, and the like–and their goal of finding justice will prove to be anything but easy.

Writer-Director Gaspar Noé wastes no time at all, and he begins this journey in the opening credits. Irreversible is a dizzying film, and the opening credits are part of the experience. As the credits slowly rotate, they appear in reverse order, and seemingly move side to side across the screen, viewers are instantly told that they are in for a wild ride. This aspect of the film could have easily been overlooked–it doesn’t need to play a role in the experience for viewers, but Noé is unwilling to waste time, unwilling to let even one second of film slip away; and he uses the credits to his advantage.

The cinematography is literally dizzying–never allowing viewers to settle, and always keeping them on their toes. As a result of how crazy the cinematography is, viewers very much feel like they are a part of the journey–like they can feel what the characters on screen are feeling. That’s important to Irreversible. The first thirty minutes or so (including the opening credits) spiral, literally causing vertigo and nausea. This is a bold choice, but for the viewers willing to stick around, those that are capable of stomaching this harrowing film, they feel part of the film. That, too, is bold; why make viewers feel like they are part of such a disgusting endeavor? Well..because he can. We are dizzied and disgusted like the characters on screen–and playing a role in this film manages to strengthen the intensity of what already exists.

What’s so interesting is, as the film progresses (both backward and forward at the same time), the camera steadies. Viewers are more capable of seeing what’s in front of them–and that’s both good and bad. Good that viewers are no longer competing with the urge to vomit from the cinematography, but bad because they are forced with a new, equally repulsive set of visuals–the long, violent, intimate rape of Alex. Irreversible holds nothing back, and in the most challenging scene of the entire film, the camera never falters, never moves in the slightest. Viewers have no choice but to look as Alex is brutally assaulted, and Noé makes sure that viewers see everything.

This scene is the most pivotal of the entire film–and, in a lot of ways, it’s the epitome of Irreversible. Each and every aspect of the film has conflicting properties–and they work to juxtapose one another in an incredibly artistic fashion. During the time of Alex’s rape it’s obviously one of the more difficult-to-swallow moments in Irreversible, but it’s the most beautiful work done by the camera. In one of the more aesthetically pleasing cinematic aspects of the film, viewers are tasked with watching the absolute worst thing play out in front of them. As the film concludes there’s a glimmer of hope present in the characters and the film as a whole–but viewers are then forced to think about the things that they know will transpire, and that hope is instantly destroyed. Irreversible is a series of wonderful decisions paired with a harrowing reality–and that aspect of the film never relents.

It’s hard to use the word beautiful to describe anything having to do with Irreversible–but the reality is that from a cinematic standpoint it’s damn near perfect. Every piece of cinematography, the layered and reverse-chronological story, the brilliant sound, and just about everything in between is beautifully constructed. Irreversible is not for the faint of heart; the truth is that it’s for a very niche group of individuals–but anyone willing to spend the time and watch this gut-wrenching film will appreciate the effort it took to bring it to life.

​MORE THAN TWENTY YEARS LATER NOÉ RELEASED IRREVERSIBLE: STRAIGHT CUT - A RETELLING OF THE SAME STORY, THIS TIME IN CHRONOLOGICAL ORDER. While the story is still the same, it reaches viewers in a different way than the original cut that was released in 2002. Whereas the original sees hope grow throughout the course of the film, Irreversible: Straight Cut does just the opposite. Hope is diminished throughout the duration of the film. We begin in the beautiful sun with laughter and a series of individuals clearly enjoying themselves on the bright, vibrant grass–and as the beauty is developed, it’s snatched from viewers, taking them back to the horrible places that Noé had created so many years ago. With this cut of the film, the same characters that had been developed in such a unique way come to life in new ways, in ways that allows viewers to see a different side of them. Everything about these characters existed in Irreversible, but Irreversible: Straight Cut develops these things in a different, equally interesting way. In a lot of ways Irreversible: Straight Cut is the same story (and, well, it is the same story). However, when it’s seen playing out in a different order, viewers’ emotions are attacked in a different way. This is the cut that Noé had always hoped for, but was unable to release years ago. I believe that aesthetically Irreversible: Straight Cut is more appealing, because it allows viewers to travel through time in a familiar fashion–however, the journey present throughout Irreversible is far more unique, far more daunting, and far more enjoyable. Trying to piece things together in reverse order is a challenge, but it’s one that’s inviting. I can’t, in any way, condemn Irreversible: Straight Cut, but it doesn’t quite live up to what was created all those years ago. Stylistically, Irreversible is one of the greatest films I’ve ever seen, and I’m not sure that any amount of editing or tweaking can compare with that original film.

Written & Directed by Gaspar Noé.

Starring Monica Bellucci, Vincent Cassell, Albert Dupontel, Philippe Nahon, Jo Prestina, etc.

⭐⭐⭐⭐⭐⭐⭐⭐/10