Climax The intense feeling is an ephemeral moment, one that we seek to prolong by all means to experience joy as Climax long as possible, without understanding that perhaps it is not the absence of pleasure that makes us suffer more, but perhaps the one that may never end. For the controversial Gaspar Noé the moment of the summit is at the same time the most euphoric and the most tragic, the duality with which he plays in Climax, his most recent film.
Known for his restless camera and shots that constantly break the traditional axes, Noah is inspired by the events that took place in a rave in the 90s, in which a vibrant and energetic dance troupe at the end of his strenuous rehearsal discovers that some perverse He has poured unhealthy amounts of LSD into his rich and innocent sangria. Totally intoxicated, each member loses control of himself, touching points of decay and destruction that can only be seen in high school graduations.
Since its premiere in the setting of the Directors’ Fortnight at the Cannes Film Festival, Climax has generated an attention to the Argentinian Pokemon Detective Pikachu that was not achieved since the brutal Irreversible (2002), thanks to the energy it manages to print in the dizzying sequences of intense voguing and dysphoric choreographies, with which the filmmaker builds the vigorous first act of the film, a celebration of bodies in movement that boasts a remarkable camera work, which moves with the same precision as the dancers it captures.
It is towards the second part of the film that Noah, in the same ecstasy as its protagonists, saturates the screen equally with color and degradation, seasoned with an electrifying soundtrack that intensifies the effect of drugs. Although the consumption of drugs is apparently accidental, it is difficult to shake off the notion that Climax is punishing his characters, The Battleship Island not so much for the use of drugs but for a kind of arrogance implicit in the simple fact of enjoying. There seems to be no drug more powerful than pleasure itself.
Even with his moralistic vision, Gaspar Noé, possessed and recognizing in the prologue of the film Kung Fu Panda 3 the influence of Dario Argento, El Marqués de Sade, Andrej Zulawski and others, creates a visceral, vigorous and somewhat conservative experience that revolves around the suffering caused not by the consumption of drugs, but by pleasure itself.
A group of artists meets in a secluded place, in the middle of a harsh winter, there, in that place, converge men and women with different personalities. When one of these characters manipulates the sangria that is served, in a kind of celebration, the effect of the drugs will show the true essence of the attendees.
Climax by Gaspar Noé, beyond being his most recent film, How to Train Your Dragon: The Hidden World is a cinematic experience that manages to disturb the senses of the viewer, turning this splendid film into the closest thing to a drug on the big screen.
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