アレックス

アレックス

アレックス

“運命か, 偶然か”

20021h 33m★ 7.2ドラマスリラー犯罪

あらすじ

ある男を探してゲイクラブへ押し入る2人組。彼らは男を見つけ出すと凄惨な暴力を加える。発端はあるパーティの夜。マルキュスは会場に残り婚約者アレックスを一人で帰してしまう。その直後、アレックスはレイプに遭い、激しい暴行を受けてしまうのだった。自責の念に駆られるマルキュス。彼は友人でアレックスの元恋人のピエールとともに犯人探しを開始する。やがて、女装ゲイ、ヌネスを探し出した2人は、ヌネスからついにテニアという男の名を聞き出すのだった…。＜邦題はモニカ・ベルッチ演じる主人公の名前。原題は「ひっくり返せない、不可逆、取り返しがつかない」を意味するフランス語で、いくつかの文字が裏返されている。シークエンスは後に起こったものが先にあり、時系列的には最初のシーンがラストに示される。また、エンドロールが冒頭で逆回しされ、クレジットの文字R/E/Nが鏡文字となっている。およそ9分にわたるレイプシーンの描写は評価がわかれた。＞

作品考察・見どころ

ギャスパー・ノエが仕掛けた逆行する時間軸は、観る者に抗いようのない運命の残酷さを突きつけます。眩暈を誘うカメラワークと生理的な嫌悪感を煽る演出の果てに、あまりに美しく穏やかな光景を配置する対比の妙こそが本作の本質です。時間の不可逆性と暴力の虚しさを、ここまで生々しく肉体化させた映像体験は他に類を見ません。モニカ・ベルッチとヴァンサン・カッセルの、魂を削るような剥き出しの演技は圧巻です。絶望の深淵から幸福の頂点へと遡る構成により、時はすべてを破壊するという非情な真理が鮮烈に浮かび上がります。失われた日常の輝きが、暴力の愚かさと人生の脆さを痛烈に問いかける、究極の映像詩と言えるでしょう。

興行成績

製作費: $3,500,000 (5億円)

興行収入: $6,500,000 (10億円)

推定収支: $3,000,000 (5億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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Segfault

Segfault

Deceived by 7+ rating I started watching. After 15 minutes I still forced myself to keep watching. After 30 minutes I had seen nothing worth to see, wasted half an hour of my life. What a dull obnoxious movie. Even the camera work is irritating.

akarta

akarta

★ 10

Firstly this is one of the best films of 2000-10 period, the film is in reverse order concerning its story, so the opening really is the ending of the film, and the ending is actually the start of the film, so please be aware when watching this film its in reverse order story wise and, its camera work is certainly one of the best ever produced, the sound work mirrors the camera work, and is very hypnotic, and is meant to create a state of nausea and anxiety, it is very gritty gay scene in france and its hyper realistic violence and rape scenes within this film, which very few people will enjoy actually watching it, because of that or the reverse order of the story, if your going to watch it only watch the first version of it. do not watch the Straight Cut version of the film that was made afterwards, because it tries to place things in the correct chronological order for the small brained people out there, which also simply removes the deeper level of the film, and once again it is not a film for everyone, why very few people will actually understand it or enjoy it, or even the deeper level its trying to show, concerning life. life is time and time destroys everything (Le temps détruit tout). And for fans of I Stand Alone, Butcher makes an appearance in the start, i would also recommended watching Enter the Void (2010) also excellent.

CinemaSerf

CinemaSerf

★ 7

Now depending on when you watched this film, you might notice that the original version and the more recent one are structured in an almost clockwise and anti-clockwise manner. In this version we work our way backwards from the frenetic activities of “Marcus” (Vincent Cassel) and his friend “Pierre” (Albert Dupontel) as they race round Paris in the early morning vengefully trying to track down a brute who gruesomely attacked his girlfriend “Alex” (Monica Bellucci) in a city underpass as she walked home. Auteur Gaspar Noé spares us little, visually or audibly, as the two men react with violent anger uncontrollably attempting to trace the culprit; nor is much left to our imagination during the assault itself which in many ways almost mitigates the behaviour of “Marcus” as his boundaries completely evaporate into a sea of fury. It’s a tale of revenge, but also of the futility of that revenge. Nothing can undo what has been done, even if the men they hire to help them identify this assailant deliver, this pair are going to have to live with this as best (or worst) they can. Cassel offers us something visceral with his performance here and that is well tempered by a Dupontel whose character (himself an ex-boyfriend of “Alex”) tries to curtail the worst excesses of his friend’s off-the-rails behaviour whilst coming to terms with his own grief. Creepily worthy of note, too, is the effort from the character committing not just one, but a whole series of heinous and demeaning offences on this defenceless woman and though this is most definitely not an easy film to watch, it’s a strangely compelling one that does invite us to consider just how approaches to vigilanteism might alter if this happened to someone we loved.