![](\"\/journal\/image21\/irreversible1.jpg\")
<\/p>\nIt’s Cannes Fortnight 2021! I was gonna watch this anyway, eventually, then noticed there’s a new Gaspar playing Cannes this year, so “eventually” became now. In in the mood for some cinema after taking things easy post-True\/False, rounding up some recent Cannes titles I missed, and some by this year’s crop of directors.<\/p>\n
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Wonked-out closing\/opening credits sequence, then the camera spirals and weaves around a courtyard, Massive Attack’s La Protection Centrale<\/em>. I didn’t know what was happening for a good long time, the I Stand Alone<\/em> guy philosophizing with anonymous Frenchman Albert Dupontel (a war survivor in A Very Long Engagement<\/a><\/em>), but it becomes clear as the movie woozily whips us through the rest of the story in reverse order. I was gonna say it takes us from one sordid scene to another, but that’d be underselling one of the most extremely sordid films of the last twenty years. I read a piece recently, thought it was by Charles Bramesco but can’t find it now so who knows, calling Promising Young Woman<\/em> a weaksauce take on the rave\/revenge story, and it came to mind a few times while watching this, a decidedly strongsauced rape\/revenge story, because is that such a desirable thing? Is the point to seek out the most extreme rape\/revenge cinema? Ultimately, the “time destroys all things” thesis, the film title and the reverse-action gimmick framing the horrors had me appreciating this much more than, say, Revenge<\/a><\/em>, though I can’t feel naughtily transgressive about liking a movie that comes highly recommended by every critic I respect.<\/p>\n It’s Cannes Fortnight 2021! I was gonna watch this anyway, eventually, then noticed there’s a new Gaspar playing Cannes this year, so “eventually” became now. In in the mood for some cinema after taking things easy post-True\/False, rounding up some recent Cannes titles I missed, and some by this year’s crop of directors. Wonked-out closing\/opening […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[369,34,1172,926,144],"class_list":["post-14363","post","type-post","status-publish","format-standard","hentry","category-movie","tag-2000s","tag-france","tag-gaspar-noe","tag-racism","tag-revenge"],"_links":{"self":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/14363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/comments?post=14363"}],"version-history":[{"count":2,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/14363\/revisions"}],"predecessor-version":[{"id":14371,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/14363\/revisions\/14371"}],"wp:attachment":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/media?parent=14363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/categories?post=14363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/tags?post=14363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![](\"\/journal\/image21\/irreversible2.jpg\")
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