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![]() To watch his films is to be made acutely aware of the cinema’s capacity to manipulate our experience of space and time. ![]() ![]() But in both films, Noé’s focus remains the same, his efforts aimed at conveying the sharp shock of having one’s habits unmoored from their usual spatio-temporal coordinates.Īcross Noé’s oeuvre, this manifests via a heightened formal immediacy. In terms of physical health, the elderly couple at the center of Vortex occupy the opposite end of the spectrum from Climax’s troupe of young dancers. Likewise, Climax (2018), which sees a dance rehearsal descend into an LSD-fueled freakout, conveys not just the dynamic possibilities of having a body, but also the terror that comes with losing control of it. His employment of stereoscopy in his much-derided 3-D porno Love (2015) expresses not just puerility or childishness, but how our binocular vision and depth perception are bound up with all the essential functions of self-preservation. Noé’s characteristically tacky way of putting all this is to dedicate Vortex “to all those whose brains will decompose before their hearts.” The line is in any case entirely in keeping with Noé’s methods, which have long been preoccupied not so much with the workings of the intellect, as with the endless enigmas of the body. (As many have observed, the dramatic setup recalls that of Michael Haneke’s 2012 film Amour, with Argento and Lebrun in the Jean-Louis Trintignant and Emmanuelle Riva roles.) What may initially have seemed like a dream becomes something more like Coleridge’s “nightmare life in death.” The remainder of the film’s 142 minutes is largely devoid of dramatic incident or narrative surprise, hardly deviating from depicting its central couple’s mundane activities and their slow, painful deterioration. As the couple goes about their day, we learn that Lebrun’s character, a former psychiatrist, is suffering from Alzheimer’s that Argento’s, a film journalist, has a heart condition and that neither is far from shuffling off this mortal coil. The latter soon awakes in distress, as if aware that a bold black line is at that very moment dropping down from the top edge of the frame, bisecting the film’s CinemaScope canvas into two roughly square images. Mortality on the mind, we are then presented with the names and birth years of the main cast, after which we transition to an overhead shot of Argento and Lebrun in bed. Giving us a presentiment of what is to come, a clip from Françoise Hardy’s “Mon amie la rose” plays on screen, its lyrics-originally a poem written in response to the death of actress Sylvia Lopez-expressing the transience of human life. “A dream within a dream,” he replies.Īs one might expect from the director of Irreversible (2002), however, the dream cannot last. For now, though, the serenity of the moment is all. Throughout the film, we will more than once be placed in a similar position, forced to reconsider our spatial coordinates. But when Argento and Lebrun’s characters (credited as “The Father” and “The Mother,” respectively) meet up a few seconds later and together head out onto a garden terrace for a cup of tea, we are led to abandon our initial assumption about how the space is put together. The images suggest two opposed apartments in neighboring buildings, calling to mind the spatial arrangement of Ernst Lubitsch’s So This Is Paris (1926). ![]() Enter the vortex art of illusion windows#The next two shots give us frames within frames: a pair of complementary views of windows directly opposite each other, through which an elderly couple (played by Françoise Lebrun, of The Mother and the Whore fame, and Italian master Dario Argento) exchange a few words. An opening-credits scroll gives way to a clear blue sky, from which the camera tilts down to survey a set of Parisian apartments. Vortex, Argentine-born French provocateur Gaspar Noé’s latest feature, opens in an atmosphere of rare calm. Color, French dialogue with English subtitles, 142 min. Produced by Edouard Weil, Vincent Maraval, and Brahim Cioua directed by Gaspar Noé screenplay by Gaspar Noé cinematography by Benoît Debie edited by Denis Bedlow and Noé sound by Ken Yasumoto starring Françoise Lebrun, Dario Argento, Alex Lutz, and Kylian Dheret. ![]() ![]() ![]() ![]() Instagram has changed the way people use social media. Using the paid version of this app you can save your favorite photos and videos to your smartphone. The only requirement is to be a premium or paid user of Instagram. There is no need to purchase any license key. You can even download the private account data of your friend using the same. 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A new tab will open with HTML code in it, press ” Ctrl + A ” to select all the code and copy it. Right click anywhere and select ” View Page Source ” option in the context menu. Log in your Instagram account and play a video from private account. Just add the Instagram Username to the target Instagram account, and the Download option will be available. The Instagram Videos can be download Instagram Videos from your social accounts as well, like Facebook, Twitter, LinkedIn, Dropbox and Google Drive etc. Download Crack + ĭownload Instagram Videos 2.9M views Download Instagram Videos and save them offline with your Instagram account information. ![]() ![]() Paul has also found out that Malaysia, which used to rely on rubber for its economic growth in early days, still tends to stretch the meaning of being on time. Such dedication and love for the greens, he says. He thinks our policemen spend an awful lot of time protecting trees because he always sees them behind trees, along the roads and highways. #Quaqua casino full#There may not be tree huggers like in the West but he thinks we protect our environment using the full brunt of the law. Paul also observes that Malaysians are environmentally conscious and take great pains in loving their trees. His question: If everyone gets all worked up whenever religious matters are questioned, how can the country be grappling with corruption? Many seem so puritanical too. Something is not quite right as Malaysians are also so religious. Paul finds it hard to fathom that Malaysia has a problem with corruption. He thinks that this is yet another indicator of a truly democratic country. He feels that these guys must have great oratory skills. Every other day, someone seems to be throwing a challenge to debate with another. And of course, the Malaysian service providers are super efficient, making the massages available with just a phone call. Notices promoting “Honey Massage” and “Rocket Massage” are even sprayed on walls. They are so health conscious that spas and services for massages, starting from foot massages upwards, have been sprouting all over towns and cities. He’s impressed that the country is both flushed with funds and how easy it is for people to borrow cash as there’s no red tape. With thousands and thousands of notices plastered all over the city – offering competitive rates with just one mobile phone number to call – Paul thinks getting loans in Malaysia is rather easy. Like elsewhere, money doesn’t grow on trees here but access to it is pasted on every available place on the streets. We may not have produced any literary giants, except our home-grown laureates, but he is impressed by how passionate we are when it comes to literature. Okay, the latest statistics say one-and-a-half pages.īut Paul is amazed at how we have become so emotionally interlocked over a book first published over 40 years ago. Malaysians are supposed to be lazy when it comes to reading. Well, Paul has been pretty observant and has asked me about some of our peculiarities.īelow are his observations after a month: Even Malaysians born and bred here are still trying to figure out the many contradictions of life in Malaysia. I assure him that he is not the only one who feels that way. The easy availability of news allows Paul to closely follow events and life in Malaysia but the country remains a paradox to him. English is widely spoken here, which means he has no problem moving around. ![]() It is his first trip to Asia and he has found it easy adjusting himself. Foreigners are bemused by some of our peculiarities.Īn expatriate friend of mine is slowly settling down to life in Kuala Lumpur. ![]() |
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