Kees Brienen on Mon, 1 Jul 2002 14:40:02 +0200 (CEST)

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[Nettime-nl] Cinema Digitaal: IRRÉVERSIBLE

Cinema Digitaal presenteert:

IRRÉVERSIBLE – Gaspar Noé (Frankrijk, 2002, 100 min.)
Met: Monica Belluci, Vincent Cassel e.a. Soundtrack: Thomas Bangalter (Daft Punk)

Plaats: Paradiso
Datum: MAANdag 8 juli 2002
Aanvang: 21.00 uur
Zaal open: 20.30 uur
Entree: 7 Euro incl.

“The film describes the ancestral link between a wound and vengeance. Vengeance is irreversible. So was the wound. Like every act. Like all things. The reactions to this film will be too”, -- Gaspar Noé

“I believe to give scandal is a duty, to be scandalized a pleasure, and to refuse to scandalize is moralism”, -- Pier Paolo Pasolini

“A film as horrible and beautiful as life itself”, -- Martin B. Landry

“It was too aggressive, too violent”, -- Pascal Gentil (Tae Kwon Do medaille winnaar op de Olympische spelen van Sydney).

“Ik zeg niet dat geweld dat is wat een man een man maakt. Ik zeg dat als je met geweld wordt geconfronteerd, je er niet voor moet vluchten. Je moet de ware natuur ervan in jezelf en in anderen herkennen, en het confronteren. Als je vlucht ben je dood of verdien je de dood. Ieder mens zal tot geweld overgaan wanneer de omstandigheden hem daartoe dwingen”. -- Sam Peckinpah

“Waar komt het kwaad vandaan?”,
-- Augustinus

“There is a book written by Andrei Tarkovsky called "Sculpting in Time. He saw cinema as the ultimate art that was capable to reach the audience in its soul. By the use of time. This clearly appeared in his films by the extensive use of sequence shots. But, it doesn't mean a whole film like this, no; it's still moments in life carefully chosen, captured - through a single shot to truly FEEL the time, which is inseparable from its meaning - and then arranged in the cutting room. That is what ‘Irreversible’ manages to do in an absolutely, incredibly, fantastically stunning way. Don't listen to the easy critics. In fact don't listen to any critics, try to see the film with a neutral approach (impossible), and experience what cinema is”.
-- anonieme bezoeker van de wereldpremière in Cannes 2002.

Ik kwam trillend, nee stuiterend, totaal verward en overspannen de bioscoop uit: “Dit is niet normaal. Ik heb nog nooit zoiets meegemaakt. Wat een film wat een film, wat kan kunst toch goed zijn. Ground Zero for Cinema”, -- Kees Brienen

“There is absolutely nothing original or artistic about this film. After seing ‘Irréversible’, I seriously asked myself, what's the next step in cinema? Where should the line be drawn? Were are we going? Avoid at all cost. I'm ashamed I encouraged this piece-O-s**t film by paying to see it...” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Dat de mens niets leert uit de geschiedenis, is de belangrijkste les die de geschiedenis ons leert”,
-- Aldous Huxley

“Not just the graphic violence and the language but the disoriënting camera work made my stomach churn”
-- anonieme bezoeker van de wereldpremière in Cannes 2002.

“A rape scene to provoke emotion from its viewer shows little or no creative ability. A rape scene shows a disturbing perversion that only can be classified as evil. I am ashamed that Monica Bellucci even agreed to take this role, not- to-mention appear at Cannes to promote this abomination of a film. Monica was on quite a role of performances earning respect and creating demand for herself. This just may backslide her to the roles like Dobermann and such, which corrupted the acclaim she received for L'appartement. Why Monica Why?” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“It’s disturbing and incredible violent” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“The Subversion of Subversion. Nor should we forget those discredited servants of law and order, the censors, another strand in the generalized web of gentle suppression. Since it is their duty to conserve and that of the artist to 'go beyond', they are forever at odds with him and, more importantly, forever lagging behind him. They are always shocked anew by yet further descents into unspeakable immorality and political unorthodoxy, disregarding the historical fact that yesterday's outrage is today's truth (or cliche) and that the elimination of taboos is the order of the day in all fields of human endeavour. ... subversion is but a reflection of a material conflict within society, in which opposing sides use both offensive and defensive devices to protect themselves. The subversive ... is always on the outside. If the definition of subversion is the attempt to undermine existing institutions or value systems, the operative word is 'existing'; the subversive attacks something 'in control' and wishes to replace it (with) what does not yet exist and has as yet no power. The idiocies of national sovereignty, relics of an earlier stage of humanity's development, must make way not only for world citizenship -and the abolition of national wars- but for citizenship in the cosmos” -- Amos Vogel (writer of the book ‘Film as a Subversive Art’).

“It's all so real, and at the same time it’s twisted…”-- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Let's just say I do not regret seeing it. It's not much ‘fun’, but it is remarkably filmed (the elegant opening credits alone are worth the trip) and the experience stays with you” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Irreversible is so boring. It is also a movie full of homophobia: the gay club is Hell, the guy who raped the women is gay, the penis of a transexual prostitute is shown like ‘look this freak!’. In movie, women must be beautiful and pregnant to be good and everything else is hell, violence and perversity. The violence, the homophobia and the racism in Irreversible have nothing to do with A Clockwork Orange because there is no intelligence and sensibility in this movie, only the wish to shock the audience... So boring and stupid”, -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Un coup de génie. Irréversible n’est pas un film sur la vengeance après un viol sordide, mais un long-métrage sur le bonheur avant un événement horrible. Une fête qui tourne mal, une discussion à trois dans un métro entre Alex, l’incarnation de la féminité, Marcus son mari et Pierre son ex, et une scène d’intimité approfondissent la relation entre les personnages et donnent au film des allures de tragédie grecque. Tout semble écrit à l’avance. Le temps détruit tout. Le temps ne détruit pas de tout. Dans cinq, dix, vingt ans, le seul scandale provoqué par le film sera son absence du palmarès cannois.” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Het kwaad is het oudste filosofische probleem. En ik ben van mening dat het geen religieus probleem is, maar een ethisch probleem. Ik bedoel: de vraag is niet zozeer waarom mensen kwaad doen, maar hoe we dat tegen kunnen gaan”, -- Michael Ignatieff

“This is real life, you fuckers! Maybe if you’d take two seconds away from your satin sheets and your fancy cars, you’d realize that it’s not all puppy dogs and ice cream all over the world. Go rent ‘The Black Stallion’ and stay ignorant you freaking fools”
-- anonieme bezoeker van de wereldpremière in Cannes 2002.

“Als we een oud verhaal moeten geloven, hebben we het paradijs verloren omwille van ons verlangen naar kennis van goed en kwaad. Dat is lang geleden. Ondertussen is de mens doordrongen van het besef dat hij vrij is. ‘Het enige excuus van God is dat Hij niet bestaat’ aldus Stendhal. Met zijn lot in eigen hand moet een mens zelf bepalen of moraal, en zo ja welke moraal, van belang is. Voorbij goed en kwaad hoopt hij nu het paradijs te herwinnen. Zal dat lukken? Of schuilt er meer waarheid in de gedachte van Proust: ‘de ware paradijzen zijn de verloren paradijzen’. De zoektocht naar de betekenis van het kwaad zal het ons leren”, -- Rob Riemen

“You have to realise that when we do big movies like ‘Brotherhood of the Wolf’ in France, it means that French cinema is seen on the international market. And the more often that happens, the more we will be able to make movies like ‘La Haine’ or ‘Sur mes Lèvres’ or ‘Irréversible’; the more we will be able to keep alive the Cinema des Auteurs”, -- Vincent Cassel (leadactor in ‘Irréversible’)

“When I see a film like that I find it hard to imagine what people must have inside them that they are able to make such a thing. I found it sickening” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“I won't give it away, but I will say that ‘Irréversible’ contains one of the most distressing yet emotionally true and heartbreaking scenes I've ever seen”, -- Michael B. Scrutchin

“It's the film you have to see if you plan to be a filmmaker, because it's a vaccine against mediocrity.”
-- anonieme bezoeker van de wereldpremière in Cannes 2002.

“As we all know the myth that all is happiness and sunshine has been dead for a long, long time. With angry wives chopping off their husband's dicks on the news and so-called affluent kids shooting up their schools, there's little to take away from this film other than "ho-hum, oh yeah". What does work are the gory execution; not something you will see on the evening news”,
-- Fabricio Bertoldo

“I fainted, I couldn’t stay...” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“I admit that film is about a hidden pain which come to light suddenly, but Noé could have limited that violence. So it is not a film for everyone, even for adults” -- anonieme bezoeker van de wereldpremière in Cannes 2002.

“De kunstwerken die als abject te boek staan, gebruiken lichaamsvloeistoffen (sperma, bloed, urine, tranen, pus) en meer vaste excreta (poep en kots) als 'artistiek' materiaal. Ze kunnen in bepaalde gevallen leiden tot fysieke reacties als huiveren, rillen of misselijkheid. Een belangrijk discussiepunt ten aanzien van deze abjecte kunst is of de gebruikte materialen in de representatie hun afstotelijke werking behouden of dat ze eerder als gesublimeerd worden ervaren, of dit nu al dan niet in overeenstemming is met de intenties van de maker om het publiek te shockeren of te provoceren”, -- Marga van Mechelen


The Lives of Animals – J.M. Coetzee
On Agression – K. Lorentz
Violence and the Sacred – R. Girard
The Darwinian Revolution and Sociobiology – J. v.d. Dennen e.a.
Surveiller et Punir – M. Foucault
Firing Line – R. Holmes
The Great War and Modern Memory – P. Fussell
Alexander The Great – Robin Lane Fox
Demonic Males – R. Wrangham & D. Peterson
De Oorsprong van de Moraal – M. Ridley
The Sexual Code, the social behavior of animals and man – W. Wickler
The Manufacture of Evil: ethics, evolution and the industrial system – L. Tiger
Life Histories, blood revenge and warfare in a tribal population – N. Chagnon
Against Our Will: men, women and rape – S. Brownmiller
A View to a Death in the Morning; hunting and nature through history – M. Cartmill
Chimpanzee Politics – F. de Waal
Darwin’s Dangerous Idea – D. Dennett
Sex Differences in Behavior – R. Friedman e.a.
Human Sperm Competition – L. Smith
The Evolutionary Origins of Patriachy – B. Smuts
Family Violence in Cross Cultural Perspective – D. Levison
Nihilisme en Cultuur – J. Goudsblom
Onze Zelfzuchtige Genen – R. Dawkins
Leviathan – T. Hobbes
The Decline and Fall of the Roman Empire – E. Gibbon
The Biology of Moral Systems – R. Alexander
The Masculine Mystique – A. Kimbrell
Hitler – I. Kerhaw
Vertoog Over de Ongelijkheid – J.J. Rouseau
The Origins of Violence – A. Rapoport
How Monkeys See the World – D. Cheney & R. Seyfarth
Film as a Subversive Art – Amos Vogel
The Ants – E. Wilson & B. Holldobler
Outcasts Digging in for the Apocalypse – Ph. Weiss
Monster: the autobiography of a L.A. gangmember – S. Shakur
Billy Bud – H. Melville
The Machine and the Garden: technology and the pastoral ideal in America – L. Marx
Sex and Temperamet in Three Primitive Societies – W. Morrow
Gorillas in the Mist – D. Fossey

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