Gaspar Noé Wants Us to Lose Control

Lux Æterna shares a number of similarities with Vortex, the other film from Gaspar Noé which hit theaters this month. This is not limited to the fact that both films employ a split-screen gimmick. When I first watched Vortex at last year’s New York Film Festival, I felt that the split-screen technique amounted to little more than just that: A gimmick. There didn’t seem to be any real benefit or feature to the film-watching experience enhanced by halving the screen, as we witness an elderly couple (played by giallo director Dario Argento and French actress Françoise Lebrun) slowly decay from their inability to take care of one another. A lot of the time, the dual cameras are not even depicting two separate situations in separate settings, but the same one from a slightly different angle. And, though aware of Noé’s nihilistic throughline, I was also not impressed with the film’s approach to portraying old age and death. I am, however, fond of a feel-bad experience, and Noé’s Climax—a real downer—works for me completely.
Climax is unpleasant and mean, but the self-inflicted, psychedelic tormenting of self-involved young people doesn’t perturb me the way that Vortex undoes its elderly couple against their will. The dancers of Climax aren’t asking for it—in fact, watching them commit drug-induced, heinous acts upon their own bodies and the bodies of others is horrific. But, as Noé explained back in 2020, their fate is akin to a punishment for their varied insecurities and fears of letting go. The dancers essentially lead themselves to ruin because they hold onto corruptible mindsets and Climax, thus, works as a horror film where the boogeyman is in their own brains. It’s perverted, but it’s cathartic. And while similarly a kind of horror film in its own right, there was something particularly pointless and cruel to me about Vortex that I couldn’t really stomach.
While I still don’t especially care for Vortex (and would never allow myself to sit through all 142 excruciating minutes of it again), I find the film more interesting now in conversation with Lux Æterna. Lux Æterna completes Noé’s split-screen triptych, and is actually his first (the film premiered at Cannes back in 2019, but its 2020 Tribeca premiere in the United States was canceled due to COVID). The split-screen came about by happenstance: The production of the film was undoing Noé, and he decided to start shooting from various angles. When he finally had all the finished footage, instead of cutting to different angles as is typical in film editing, he decided to use the angles side by side. Noé himself refers to the split-screen technique as a gimmick. But he nevertheless became fond of it, using it again for a short film to promote Saint Laurent’s 2021 line, and then again for Vortex, both filmed at the height of the pandemic in 2020. As explained by Noé, the split-screen works to depict the vastly dissimilar lives led by Vortex’s central couple despite them physically being together. There is a dissonance between them happening entirely in their minds.