Vortex

Intimate, haunting, quiet, and sad with very raw and incredible performances by the two main characters. It's very slow but the unique transitions paired with the split screen keeps your eyes constantly darting around trying to take in everything which at times isn't much at all. I have to admit this was uncomfortably long and it didn't completely sink in until the very final scene. Getting old is so scary.

Françoise Lebrun delivers an outstanding and unforgettable portrayal as Elle, a lady in her senior years struck down with dementia and living in a world that's alien, confusing, bewildering and extremely dangerous. So convincing is her presentation that you spend most of the film half believing that she must genuinely be suffering, that this is a documentary, a fly on the wall observation. Similarly, Dario Argento fulfils the role of the loving but ever so slightly irritated grumpy old man, wishing to get on with his life while more often than not, turning a blind eye to his wife's descent, knowing only too well the consequences once others take control of the situation.

This film recognises what most people have gone through, or will go through, either directly or as close witnesses. Filmed in an imaginative style by the progressive Gaspar Noé, my only complaint is that I was extremely keen for the end to arrive as it outstayed its welcome by around 30 minutes and, as such, I'm unlikely to revisit it again any time soon.

Unlike Noe's previous films, Vortex is an understated, slow-paced, intimate character piece. Who knew that Dario Argento could give such a brilliant performance? And Francoise Lebrun... just wow. The rest of the cast are fine in their roles as well, but this is a movie about two characters, and they were cast perfectly. Where the movie really struggles, however, is in its pacing and editing. It is simply 30-40 minutes too long. Scenes drag on endlessly. There can be a hypnotic quality to some of the mundane scenes, but not enough to justify the drag. A tighter edit would have made a difference. Perhaps one of these days we will get a director's cut that re-edits the movie and makes it a bit tighter overall. However, there is a lot to appreciate in the film. It is worth seeing for the acting performances alone. It takes on an important topic and handles it gracefully. It shows that the director is a versatile craftsman who is not afraid of breaking the mold and taking risks that mostly pay off.

I knew nothing at all about this film going in, and you should know nothing as well. This gift of a film screened and my local film festival (FNC 2021) followed by a late night screening of "LVX ÆTERNA", and "VORTEX" was definitely my favorite of the two. My friend who told me the festival also said that Gaspar Noé's last film would be screening and it triggered a "Vietnam flashback" to my first experience watching "CLIMAX", with psychedelic visual and a killer soundtrack, and I'm not going to lie that was what I was expecting from VORTEX. However, Gaspar presented us with a quiet, contemplative piece of cinema that I believe is nothing less than a love-letter to cinema and filmmaking itself. Bravo Gaspar!

A slow moving, disturbing, and emotionally powerful cinematic experience. Gaspar really doesn't disappoint, as this film packs some of the most potent performances in any of his previous films, Dario Argento, François Lebrun and Alex Lutz do a surprisingly amazing job performing. The split screen used in the film's visuals are wonderfully implemented with a clear artistic purpose, the film is incredibly well shot and though the pacing is very slow it never feels dull whatsoever. The disturbing moments are much more subtle and quiet when compared to Noe's previous works, though their subtlety doesn't hinder these moments whatsoever. The dialogue is wonderful, every bit of human drama between these characters feels like it was ripped right out of reality with how raw every second is, at points it feels like I'm watching a documentary rather than a drama.

My main issues lie with the film's narrative feeling a little scatter-brained and random, a few plot threads feel picked up and dropped without much development and though I appreciate the use of empty scenes that feel like nothingness as a way to illustrate how our lives are made up of 50% nothingness, there's a point where those additions aren't needed anymore.