The story of the film is very commonplace, it’s just something that happens quite naturally for people aged 80 and over that their children must manage. And these situations are so heavy day-to-day that most of those over 50 carry them like individual curses that they’re almost ashamed to talk about. The film emphasizes the shared loneliness of the father (Dario Argento) and the mother (Françoise Lebron). We realize that when one of the characters leave the frame, leaving us alone with the other, we really want to continue to see what he or she's at the same time. Reality is the sum of the perceptions of those who make it. And since there’s nothing more boring in cinema than this artificial tv movie language that almost everyone uses.
Guy (Alex Lutz) is interested and deeply moved by time. He turns around and tries to move forward. We've the impression that he moves in different worlds, he has rather the image of a comedian. He only thinks about making unique objects, which don’t resemble each other. The character was into drugs or if he had given up. He had taken himself in hand, that he worked in some organization. We suggest that the character get some help from a social worker (Laurent Aknim), that he worked in editing to have a schedule that allowed him to get high. He’s into drugs without being into drugs, it’s the eternal problem of the addict who knows very well that; that’s what he’ll be all his life. In the script he's.closer to his mother, while he has had fights with his father in the past, a father who has had to scour police stations and clinics for his son.
Old age involves very complex survival issues. People who suffer from Alzheimer’s often have problems with speech and don’t always respond when they’re spoken to. It generates overwhelming situations in which those who've protected you most revert in turn to their childhood. It's a film with an extremely simple narrative, with one person in a state of mental deterioration losing the use of language, and her son who has not yet mastered it, as two extremes of this brief experience that's human life. It feels like we’re following two tunnels that evolve in parallel but never meet, two characters irrevocably separated by their paths in life and by the image. The camera language is a bit complex, and, as usual.
"Vortex" describes a very common situation, which most people are or will become familiar with; it’s the toughest. The film scared people, turn them on, make them cry, in life as at the cinema. Tears really do have a sedative effect when they come into contact with the membranes of the eyelids, which makes them one of the most pleasurable substances there's. It’s a provocative, violent film. Gaspar Noe is the son of a painter, and he works like a painter, he prepares his frame like a painting. He’s very meticulous with the composition of the image. Still, he's seen as a provocative director, with scenes that venture very deep into violence or sex. It's also a very radical, desperate film, in any case not very Manichean. It’s just the story of a genetically programmed disintegration, when the whole house of cards collapses. The film probably refers to the emptiness that surrounds us and in which we float. The mess you've left behind. That’s death, the objects of a life you leave to others and that disappear in a garbage truck as quickly as memories that rot along with the brain. In any case, since the hand of destiny gives us some joyful extra time, We've also been told that it recalls 'Enter the Void' in the sense that it's subject is the great emptiness that's life and not death.
We feel that we're more serene with these two concepts we call life and death. In addition, the convalescence that's imposed on us, followed by this fabulous collective experience of confinement linked to a virus, allows us to spend time discovering the greatest melodramas of Mizoguchi, Naruse and the unjustly forgotten Kinoshita, whose melancholy, cruelty and aesthetic inventiveness reminded us what truly great cinema could be. Culture is one of the last sanctuaries where it's a duty not to be afraid. To paraphrase Pasolini, what we do is more important than what we say.