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Lux Æterna is an art-film freakout — and a designer fashion ad

Only Gaspar Noé, the provocateur of the French film industry, would make such a fashion ad Jungheinrich†Commissioned by luxury fashion house Saint Laurent, the film is a 51-minute improvised experimental art project featuring witches burning and ending in a persistent, throbbing nightmare of strobe lights and sounds. It might make viewers feel rude, elated, funny, annoyed, or all of the above, but will it make them feel like they want to spend a thousand dollars on a handbag?

You must feel like you just watched a Gaspar Noé movie. The director loves extreme content and unconventional shooting techniques, and likes to grab the attention of audiences and critics alike.He became famous in 2002 irreversible, a play told in reverse chronological order, revolves around a traumatic graphic expansion rape scene. He then went on a disembodied first-person head tour. into the void† Then he chose porn actors Love, it’s a navel-gazing porn show, so it’s possible to shoot non-simulated 3D sex scenes, including, of course, extreme close-ups of dicks shot straight into the viewer’s face. you understood.

Noe is one of the most mythical writers in the world, and sometimes the most revolting thing about his films seems to be how badly he wants them to shock audiences. But he has undeniable talent. The dingy, eerie, neon-lit aesthetic by resident photographer Benoît Debie has a seductive, decadent appeal. (It’s certainly what Saint Laurent has been looking for.) And he’s a master of the editing suite, always finding ways to blend his sinuous and striking images into heartbreaking cinematic crescendos.

Jungheinrich (“Eternal Light” in Latin) is a loose, real-time behind-the-scenes drama about a runaway filmmaking. Both Béatrice Dalle and Charlotte Gainsbourg, icons of French genius, both played their part: Dalle played Gainsbourg in her first film as a director, about a medieval witch who burns but struggles to control a chaotic environment. The producers conspired behind Dalle’s back to replace her with a cameraman. Distracted and harassed by journalists, makeup artists and a young aspiring director, Gainsbourg received a disturbing call from her home before filming the pivotal cremation scene.Then the lights and rear projection equipment got mixed up, and it became real Strange.

The most annoying part of the film is the opening, where Noah chooses to address the audience by playing clips from old movies (from Carl Theodore Dreyer’s 1943 witch drama). angry day) and fantastic quotes from Dreyer, Jean-Luc Godard and others on the art of cinema. A quote from Dostoevsky about the experience of pure bliss before an epileptic seizure predicts Noah’s later manifestations of epilepsy. Ironically, it should serve as a warning that viewers with light-sensitive triggers should shut down the film.

Image: Yellow Veil Image

This selfish introduction is followed by a beautiful passage in which Dalle and Gainsbourg engage in a lighthearted, unscripted chat on set and share quirky anecdotes from their careers. Dale became a wild child sex symbol when he starred in erotica in the 1980s. Betty Blue, has become an irredeemable force of nature. His inarticulate digression, his rude laugh and his toothless smile are totally irresistible. The daughter of raucous casual singer Serge, Gainsbourg is languid and lean, with a model’s body, a failed face and a gritty exterior. She’s just one of the coolest people in the world. It’s an honor to see these women taking shit.

Oddly enough, this passage in the film, and the behind-the-scenes brawls, farce, and accidents that follow, is nothing more than a reminiscent episode. Call my agent!, Netflix’s comedy about a Parisian talent agent.Anyone who performs in French has appeared in Call my agent!, including Dalle and Gainsbourg; Dalle’s episode is a special delight. The show is a bit pompous, but as a portrayal of how the French film industry sees itself, it’s very sharp and always right when it comes to treating women in the industry.

In the split screen, there is a model on the left and a man with a film camera on the right, both lit in red.

Image: Yellow Veil Image

This seems, at least in part, to be Noah’s theme as well. When Dalle and Gainsbourg spoke with sad humor about their experiences, he wisely stepped aside. Elsewhere, in one film, it subjects them and the other women in the film to a litany of humiliation and subversion from attention-seeking men until they break out. He pointed out that Dreyer (who made) The Passion of Joan of Arcone of the great masterpieces of silent film) got his “beautiful” recording of a tortured woman burning at the stake angry day Tie her to him for two hours. He had Gainsberg answering a poignant call about his daughter, next to the prop of a disembodied male torso; she absently poked her waxy lump as he spoke.

Throughout the process, Noé used split-screen to provide viewers with two simultaneous views of the action. Sometimes two angles in the same scene; sometimes the image is split into two moving handheld shots, conveying the layered chaos of the production. Sometimes one of the shots was shot by an assistant, who was asked by the producers to follow Dalle on camera and record any errors. The voyeuristic invasion is covered up, but it’s also all on screen.

what Jungheinrich At the climax, the screen melts into a blizzard of barely visible flashes of red, blue and green, with Gainsbourg writhing uncomfortably in the center of the frame as a cheerful male voice emerges. Noah made his point and got a chance. As always, he has cake and eats it. You have seen women burned at the stake until your eyes bleed. Buy this dress now.

Jungheinrich It can now be seen in theaters.

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Lux Æterna is an art-film freakout — and a designer fashion ad

Only Gaspar Noé, the arch-provocateur of French film, would make a fashion ad like Lux Æterna. Commissioned by the luxury fashion house Saint Laurent, the film is a 51-minute, improvised, experimental art project featuring a staged witch burning and ending in an extended, throbbing nightmare of strobing light and sound. It might leave audiences feeling brutalized, exhilarated, amused, annoyed, or all of the above, but will it leave them feeling like they want to drop a thousand dollars on a handbag?
They will certainly feel like they’ve just watched a Gaspar Noé film. The director has a taste for extreme content and unconventional moviemaking techniques, and he loves to get a rise out of audiences and critics. He made his name with 2002’s Irréversible, a drama told in reverse chronological order and centered on a traumatically graphic extended rape scene. He followed it up with the first-person, disembodied head-trip Enter the Void. Then he cast porn actors in Love, a navel-gazing erotic drama, so he could shoot unsimulated sex scenes in 3D — including, naturally, an extreme close-up of a penis ejaculating directly at viewers’ faces. You get the idea.
Noé is one of the most self-mythologizing auteurs in the world, and sometimes it can seem like the most offensive thing about his films is how desperately he wants them to shock audiences. But he has undeniable gifts. His sleazy, lurid, neon-lit aesthetic, crafted with his regular cinematographer Benoît Debie, has a seductive, decadent glamour. (This is surely what Saint Laurent was after.) And he’s a master in the edit suite, where he invariably finds unusual ways to assemble his meandering footage and startling images into cinematic crescendos that can leave the heart racing.

Lux Æterna (which means “eternal light” in Latin) is a loose, real-time backstage drama about a movie production that’s spinning out of control. Béatrice Dalle and Charlotte Gainsbourg, both icons of Gallic cool, play versions of themselves: Dalle has cast Gainsbourg in her first film as director, about a medieval witch burning, but is struggling to control a chaotic set. The producer is conniving behind Dalle’s back to replace her with the director of photography. Gainsbourg, distracted and harassed by journalists, makeup artists, and a young would-be director, gets an upsetting phone call from home just before she’s due to shoot the crucial stake-burning scene. Then the lighting and back-projection rigs go haywire, and things get really freaky.
The most infuriating part of the film is the very beginning, where Noé chooses to lecture the audience by displaying old film footage (from Carl Theodor Dreyer’s 1943 witchcraft drama Day of Wrath) and fancifully typeset quotes about film as art from Dreyer, Jean-Luc Godard, and others. A Dostoyevsky quote about the pure happiness that epileptic people experience before a fit foreshadows the seizure-inducing display Noé is going to put on later. Ironically, it should serve as a warning that any viewers with photosensitive triggers should turn the film off.

Image: Yellow Veil Pictures

This self-regarding introduction is immediately followed by a lovely passage in which Dalle and Gainsbourg have a relaxed, unscripted chat on the set, sharing wild anecdotes from their careers. Dalle, who became a wild-child sex symbol in the 1980s when she was cast in the erotic drama Betty Blue, has matured into an incorrigible, leathery force of nature. Her foul-mouthed digressions, rasping laugh, and gap-toothed grin are totally irresistible. Gainsbourg, daughter of the scandalous lounge singer Serge, is languid and stringy, with a model’s frame, a careworn face, and a flintiness in her eye. She’s simply one of the coolest people alive. It’s a privilege just to watch these women shoot the shit.
Weirdly enough, this passage of the film, and the backstage squabbles, farce, and mishaps that follow it, are reminiscent of nothing so much as an episode of Call My Agent!, the Netflix comedy-drama about Parisian talent agents. Everyone who is anyone in French acting has appeared as themselves in Call My Agent!, including both Dalle and Gainsbourg; Dalle’s episode is a particular delight. The show is frothy stuff, but as a portrait of how the French film world sees itself, it’s pretty acute, and it’s also always on point when it comes to the treatment of women in the industry.

Image: Yellow Veil Pictures
This seems at least partly to be Noé’s topic here, too. When Dalle and Gainsbourg talk about their experiences with rueful humor, he wisely gets out of the way. Elsewhere, he subjects them and other women on the film-within-a-film to a barrage of indignities and undercutting from attention-seeking men until they snap. He points out that Dreyer (who made The Passion of Joan of Arc, one of the great masterpieces of silent cinema) got his “wonderful” shot of a tormented woman burning at the stake in Day of Wrath by leaving her tied to it for two hours. He has Gainsbourg take the distressing phone call about her daughter next to a prop of a disembodied male torso; she prods at its waxy bulk absently as she talks.
Throughout, Noé uses split-screen to give viewers two simultaneous views of the action. Sometimes it’s two angles on the same scene; sometimes the view splits into two roaming handheld shots, conveying the layered chaos of the production. Sometimes, one of the shots is filmed by an assistant whom the producer has asked to follow Dalle with a video camera and record any mistakes she might make. The leering intrusion is being commented on, but it’s also all up there on screen.
As Lux Æterna builds to its wig-out climax, the screen dissolves into an almost unwatchable blizzard of strobing red, blue, and green, with Gainsbourg writhing in discomfort in the center of the frame and an offscreen male voice exulting in it. Noé makes his point — and gets his shot. As ever, he has his cake and eats it too. You’ve watched the women burn at the stake until your eyes bleed. Now buy the dress.
Lux Æterna is now showing in theaters.

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