Updated: Nov 6, 2020
Every person's hell is different, but Gaspar Noé is very daring in his act of inviting everyone to his own hell. Gaspar Noé offers a fluid, striking, allegorical and aesthetic frenzy with its space that it can be used anywhere and at the same time, as a maze where you can be trapped and offers a magnificent variety. After an impressive opening in which a woman crawls on the ground with blood flowing from her body on white snow, we know our traveling companions on a journey that we have not experienced for an hour and a half. This screen, surrounded by books on both sides, does not only introduce the dancers who give information about themselves, but Gaspar Noé talks about himself with the books he lists. Gaspar Noé continues to explain himself as he talks about the characters from Murnau to Luis Buñuel and Dario Argento.
Climax, which has a 5-page scenario and completed in 15 days, shook the thoughts that Gaspar Noé could not be filmed in such a short time, of course. The fact that a 96-minute movie has a 5-page script, but the fact that the entire universe is set up very clearly reveals how deeply Gaspar Noé has dealt with the story and his success in acting. In the movie where we are involved in a night where a dance group of 15-20 people are partying, after we get to know the dancers, we watch the only dance scene whose choreography is determined. The narrative accompanied by collective dance is transitioning into a phase where we witness the dynamics of the characters we know individually. I have to point out that it is difficult to understand that it has passed from one stage to another in Climax, which offers a surprising way of how such a hard film can accommodate such soft and faded transitions. It is possible to experience this transitive structure in the plan sequences of the film frequently. Through the conversation of one character with others, the camera takes the different communicating universes onto the screen, by turning its focus to another character, again to another character and again to another character.
Climax: Gaspar Noé's Hypnotic Hell It is not known who added to the sangria, which was drunk at the party - but at the end of the movie, the amount of LSD is put, which can cause the dancers to lose themselves. The night, which was normal at the beginning, turns into a nightmarish narrative after the first quirks. In the night when dreams and reality mix, everything turns upside down, including the frames. In this respect, we can state that Climax offers an entirely different narrative in addition to being an unfortunate event. It is possible to say that Sofia Boutella is the main character, but Gaspar Noé devotes almost equal time to all his characters. Selva is important at this point only because it stands more centrally, it is the first character to realize that there is something wrong with the drink and that it changes its choices sharply.
The story that passes from the corridor to the corridor, from room to room, from mind to mind among the striking reds, blues and greens does everything for the viewer to experience the characters together with the characters. In this respect, it should be noted that Climax offers a hypnotic visual. David, who is played by Romain Guillermic and can be described as the group's alpha male, is also an outside character. The guiding attitude works as long as it can affirm its superiority in the group, and it stands out because it is an emotional relationship with Selva and is desired by some of the women and gay men in the group. However, the changing balances with the effect of lsd cause an expression to take place over David. David, who has been beaten by other dancers and that he has lost his superiority in the group after being beaten, is also not wanted by Selva. At this point, Selva makes her choice for a woman. In addition, Gaspar Noé does not neglect to include a small child in the dance group, which offers a remarkable variety in terms of sexual orientation and different races. The presence of a small child who is electrically shocked in the room where the crowd out of control loses the key so that the mother who locks her son does not do anything to her son, makes her feel as a prisoner for an accusation that she cannot get out of. At this point, the biggest harm to the child is not the crowd, but the fact that the mother who has acted with the instinct of protection has also caused one of the important indicators of why Gaspar Noé reflects the world he has built upside down.
Gaspar Noé, who confronts the viewer to himself through a universe where all the characters' invisible face, fears, real desires and fantasies are revealed by the disappearance of the social self, the fear of being judged - even for the most disjointed characters, is in technical preferences that will prevent the viewer from looking at the events from the outside. and it is not possible to leave Climax without sipping from sangria.