What sets him apart is the way he uses moments of calculated shock and sensory overload to jar audiences into considering big philosophical questions: How do we experience time and memory? What happens after we die? Noé’s work is raw and cerebral all at once, but his inquiries are more abstract and less political than those of most other filmmakers who unite those extremes (Pasolini, Von Trier, Haneke). In some senses, Noé is a classic provocateur: his films are engineered to make a visceral impact, and also maybe to piss off some viewers. Its follow-up, 2009’s Enter the Void, is a shaggy, psychedelic trip through the murder and afterlife of an American drug dealer in Tokyo, punctuated by harrowing memories. The centerpiece of his most controversial film, Irreversible (2002), is a lengthy, unflinching depiction of rape. He is a filmmaker known for assaulting the senses, not caressing them. Gaspar Noé’s Love: Even before you learn that it’s in 3D, the mere juxtaposition of director and title - the idea that Noé would make an entire movie devoted to the most tender of emotions - makes it all seem like a crass joke.
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