SYNOPSIS

LIFE IS
A SHORT PARTY
THAT WILL SOON
BE FORGOTTEN.
 INTERVIEW WITH
GASPAR NOÉ
What was the origin of Vortex? Did you write this film following your
I’ve been wanting to make a film with elderly people sudden brain haemorrhage?
for several years. With my grandparents, then with No, not at all. I’d already thought about the subject
my mother, I realized that old age involves very for this film long before. On the other hand, with
complex survival issues. It generates overwhelming this stroke, from which there was very little chance
situations in which those who have protected you that I would emerge alive or unscathed, I was
most revert in turn to their childhood. So I imagined catapulted onto the dark side of the moon. While
a film with an extremely simple narrative, with one I was on morphine for three weeks, I thought about
person in a state of mental deterioration losing the my death and its consequences for all those around
use of language, and her grandson who has not yet me, the mess I would have left behind. That’s death:
mastered it, as two extremes of this brief experience the objects of a life you leave to others and that
that is human life. disappear in a garbage truck as quickly as memories
that rot along with the brain. In any case, since the
It’s your least provocative, least violent hand of destiny gave me some joyful extra time, I
film to date. feel that I’m more serene with these two concepts we
That’s not for me to judge. While it’s my first feature call life and death. In addition, the convalescence
film for all audiences, I’m also told that – due to that was imposed on me, followed by this fabulous
the very common situation it describes, which most collective experience of confinement linked to a virus,
people are or will become familiar with – it’s the allowed me to spend months discovering the greatest
toughest. melodramas of Mizoguchi, Naruse and the unjustly
I’ve already made films that scared people, forgotten Kinoshita, whose melancholy, cruelty and
turned them on, or made them laugh. This time aesthetic inventiveness reminded me what truly great
I wanted to make a film that made them cry as cinema could be.
hard as I could cry, in life as at the cinema. Tears
really do have a sedative effect when they come Was it a commando shoot?
into contact with the membranes of the eyelids, I wrote a 10-page text, that grew to 14 pages when
which makes them one of the most pleasurable I expanded the bodies of the characters to deposit
substances there is. it at the CNC (laughs). Canal + committed and I
Also, this isn’t the first time that I’ve filmed with got the avance sur recettes for the first time. I shot
the greatest love people older than me: it was in April, over 25 days, and finished on May 8th.
the case with Philippe Nahon with whom I made I had an editing room on set and, since we didn’t
Carne and I Stand Alone. But this time, Vortex have very long shooting days, I started editing right
is really inspired by recent experiences in my away, in the evenings, on weekends. It was very fast,
life, and all those ultra-brilliant loved ones whose especially the post-production before Cannes, but I
powers of thought I saw decay and then die love speed. It worked well for Fassbinder, it worked
before my eyes. The film probably refers to the well for all the great Japanese directors in the 60s.
emptiness that surrounds us and in which we float. Why do slowly what you can do quickly?
I’ve also been told that it recalls Enter the Void
in the sense that its subject is the great emptiness When did you have the idea for the
that is life and not death. split-screen?
The story of the film is very commonplace, it’s just
It’s also your most radical, desperate something that happens quite naturally for people
film. aged 80 and over that their children must manage.
Maybe, in any case not very Manichean. It’s just the And these situations are so heavy day-to-day that
story of a genetically programmed disintegration, most of those over 50 carry them like individual
when the whole house of cards collapses. As we curses that they’re almost ashamed to talk about.
wrote for the Cannes Film Festival synopsis: Life is a For the form, I envisaged something almost
short party that will soon be forgotten. documentary, without written dialogue, and on a
single set, as realistic as possible. The only aesthetic
position I took was to film some scenes in split-screen
to emphasize the shared loneliness of this couple, but Mother and the Whore, even though Jean Eustache’s
I hadn’t planned to do so over the entire duration of use of ultra-precisely written dialogues is the exact
the film. The first week I only shot a few sequences opposite of what I try to do.
with two cameras, but in the editing room I realized When Dario agreed to act in the film, I had less than
that when one of the characters left the frame, a fortnight to find his son. I thumbtacked photos of
leaving us alone with the other, I really wanted to Françoise and Dario on a wall and asked myself
continue to see what he or she was doing at the same who could be physically credible as their child. Then
time. Reality is the sum of the perceptions of those I thought of Alex Lutz. I’d seen Guy by chance and
who make it. And since there’s nothing more boring was blown away by his performance. I stuck his photo
in cinema than this artificial tv movie language that next to his parents’ and it worked perfectly. We met,
almost everyone uses I thought, as long as we’re and he was available. And when he told me he had
making something as contrived as a film, why not himself directed Guy from a 10-page screenplay, I
have fun with the split-screen? figured we were well suited!
So I timed the shots and filmed the missing parts to
complete the sequences. The process then imposed With this more ‘grown-up’ film, you
itself from the second week of filming. It feels like may even risk getting good reviews.
we’re following two tunnels that evolve in parallel but Most great films are massacred when they’re
never meet, two characters irrevocably separated released, and the worst ones are venerated…So I
by their paths in life and by the image. The camera don’t care. To paraphrase Pasolini, what we do is
language was a bit complex, and, as usual, I hadn’t more important than what we say. Vortex might be
made storyboards. It requires a good spatial logic more ‘adult’ than my other films. But, I Stand Alone
and I was constantly solving a mental Rubik’s cube. and my short SIDA aside, I feel as if I’ve only really
Once again, I slept very badly at night. made films about teenagers for teenagers. Today, at
57, perhaps I’m finally entering adulthood a little. I
And your actors? am getting into an unkown world.
My three actors were the most beautiful Rolls-
Royces of improvisation that I could have dreamt
of. But by working with Françoise and Dario, given
my admiration for them, I put myself under a lot of
pressure, joyful and constructive as it was. I didn’t
want to screw up, to do a lazy directing job in front
of a master of the image like Dario Argento, nor
dare to miss a single performance by anyone with
Françoise in the film.
I’ve idolized Françoise since discovering her in The
 FRANÇOISE LEBRUN
Do you know why Gaspar Noe called Does Gaspar talk about the psychology
you in? of the characters?
Yes! He saw The Mother and the Whore and he Not at all! Or perhaps I didn’t get it! (laughs) He
loves that film, it really moved him. But we didn’t gives practical indications: “An emptier look, wiggle
talk much about it, we stayed very demure. your fingers, mumble…” Very concrete things. He
doesn’t talk about the character’s moods and so
Did he give you a script? much the better because I can’t bear all that.
No, and I didn’t want one. He called me a few
months ago, we had lunch. Later, he asked if wanted How was the filming?
to read the script and I refused, because it was Through the documentaries I watched, I discovered
obvious to me that we were going to do something that people who suffer from Alzheimer’s often have
together. He more or less told me the story, but I problems with speech and don’t always respond
had a kind of trust in our connection. I thought: This when they’re spoken to. With my partners I tried to
man has seen what I can do and loved what was find a way of communicating that wasn’t necessarily
at the origin of my whole story with cinema. So, I with words. It was a demanding adventure but
trusted him. It’s as simple as that… undertaken with trust. And my two partners were
terrific. We were in the same boat, each with our
Were you familiar with Gaspar Noe’s own modes of communication. You know we did re-
cinema? takes a couple of weeks after the end of the shoot,
A little. I had seen Lux Æterna and he gave me simple things – I go out in the street again, I walk…
some DVDs of his films that made me laugh a lot… I found that it took me some time to recover the state
I felt he filmed his actors with great empathy… I’m I was in during the shoot. Without my realising it, it
thinking of certain shots of Béatrice Dalle... he has had been a dive into something unfamiliar to me,
a beautiful way of looking at actors and actresses. that I hadn’t controlled. A leap into the unknown.
Gaspar Noe is the son of a painter, and I find that One of the first people to watch the film asked
he works like a painter, he prepares his frame like a Gaspar if I really had Alzheimer’s, so I did a good
painting. He’s very meticulous with the composition job…
of the image.
Was it a demanding shoot?
Still, he is seen as a provocative director, It was necessary to abandon all preconditioned
with scenes that venture very deep into reflexes. Because of the split-screen we did many
violence or sex. takes. The biggest task was to let go of control.
Obviously he didn’t want to take me in that direction, And at the same time, because of the work with
with this film, he took a different turn. I pretty much two cameras, it was sometimes also very technical.
knew that the subject was very personal to him, I remember we once had to do a take of exactly ten
he has a deep understanding of the character I seconds. It’s a change and it’s very exciting.
portray. That helped me to act it. I watched a lot
of documentaries about Alzheimer’s and I realised If everything was improvised on set for
that each person develops their own disease. I this film, was there any improvisation in
threw myself into it knowing that Gaspar was there The Mother and the Whore?
to direct this exploration of the unknown that I was Absolutely not. We had a text specific to the last
making. comma and Jean asked us to redo each take until
it was perfect. There wasn’t an ounce of improv in
The Mother.
 DARIO ARGENTO
This is the first time you’ve taken the Moreover, you play a film critic.
lead role in a film. You know, I started my career as a critic. Before
I was the narrator for several of my films, including writing the screenplay for Once Upon a Time in the
Suspiria, Opera and Tenebrae and you can see my West for Sergio Leone and becoming a director, I
hands stabbing women in Giallos. Gaspar is one was a film critic, in particular for the daily Paese
of my great friends, we’ve known each other for Sera. For Vortex, Gaspar asked me what my
more than twenty years. He begged me, told me he character’s profession was and I thought: a film
wrote the film for me, everyone around me advised critic.
me to act in Vortex. Even so, when Gaspar came
to see me in Rome and we watched his film Love at A word about your partners, Françoise
10am, I must admit that I had big doubts… It was my Lebrun and Alex Lutz.
daughter, Asia, who finally convinced me. So, at 80, Françoise is a very interesting actress and Alex is
I agreed to play my first leading role, and in French. a born improviser, very gifted. He helped me a lot
I put all my will, all my strength, all my being into it. with my improvisations.

What did you think of the script? You start shooting your new film Black
There wasn’t a script, perhaps some 15 pages. Glasses at the end of June, having not
My two partners and I improvised the whole film. directed for ten years. How do you feel?
Gaspar would tell us about a situation and we’d A little restless, I can’t sleep these days (laughs). It’s
improvise for longer or shorter periods of time. a giallo, of course, Black Glasses, with Asia.
But it wasn’t really complicated, I think it would
have been harder for me with a real script, with What will you take away from Vortex?
dialogues to follow, since I struggle with French. I It is a very intimate film for Gaspar, a personal story
had to search for the truth in the depths of myself, that touches him. It might be the most important
of my feelings. film he has directed. I’m very happy about this
experience, very enthusiastic, but I will never be an
Did your experience as a director help actor again,Vortex will remain a unique experience.
you to incarnate a character? It’s finished, absolutely finished. For this reason it
Of course. I’ve directed actors for years, I’ve been remains unique.
at their side. And I remembered it. For Vortex it
was sometime very technical, because of the two
cameras and the split-screen, with many shots –
even if I too shoot my films with two cameras. As
an actor you don’t think about it, you think about
your marks, about what you have to say, but not
about the cameras. Gaspar did the framing himself,
he was behind one of the cameras. He pitched in
and talked to the actors a lot. But it was very tiring.
We shot the same scenes many times in a row but
I didn’t remember my improvisations so I would do
something else… The improvisation sessions were
sometimes very long I remember in particular my
conversation on the phone with my friend, the critic
Jean-Baptiste Thoret, which lasted 31 minutes!
 ALEX LUTZ
People might find it surprising to see Does he give you psychological hints?
you in the credits of a Gaspar Noe film. He’s an artist of great delicacy, he’ll give you a few
Really? Tell me why? bones to chew on, but he doesn’t do psychology. I
didn’t know if my character was into drugs or if he
I have the impression that you move in had given up. We said that he had taken himself
different worlds, you have rather the in hand, that he worked in some organization. I
image of a comedian. suggested that my character get some help from a
I only think about making unique objects, which don’t social worker for his son, that he worked in editing
resemble each other. Like Gaspar I am interested to have a schedule that allowed him to get high.
and deeply moved by time, like Guy who turns He’s into drugs without being into drugs, it’s the
around and tries to move forward, or Final Set, the eternal problem of the addict who knows very well
swansong of a 34-year-old tennis player… It’s not so that that’s what he’ll be all his life. A junkie once
inconsistent… Otherwise, I know that Gaspar loved said to me “Drugs? Simple, it’s the mother’s breast.”
my feature Guy and knew that I love to improvise. I really like the fact that Gaspar doesn’t underline
As for me, I didn’t hesitate. Gaspar called me and anything, doesn’t explain everything, and it’s for
offered me the role two weeks before filming began. the viewer – the co-author – to fill in the blanks.
I love that! Films should always be made like this,
with this urgency. There was a window for me, and How did you work with your two
I went for it. Brilliant! partners?
It was very powerful with Françoise and Dario.
Isn’t it a bit of a leap into the void to I was familiar with Dario’s films, I liked his language,
appear in a film without a script, that his accent, in a film where we struggle to talk. And
Françoise is an iconic actress. In the script I’m closer
will be improvised as you go along?
to Françoise, while my character has had fights with
Culture is one of the last sanctuaries where it is a
Dario in the past, a father who has had to scour
duty not to be afraid. Our profession still allows that.
police stations and clinics for his son… I loved
And what could happen to me? Gaspar is a brilliant
improvising, letting go, I’d love to do only that. But
filmmaker, he has directed wonders, whether I
you need a director who isn’t afraid of heating up
can be an oil or an acrylic on his canvas, that’s
the camera.
awesome! The shoot was a crazy chaos in which we
told ourselves: “We’ve got tons of Lego, what can
we make together?” I loved making this film.

How did the work unfold day-to-day?

Gaspar has his film in his head, a total vision of
what he’s going to do, but no script – maybe 20
pages. On set, it’s a strange mix. You feel like you
can do whatever you want, but at the same time
Gaspar knows exactly what he wants, he doesn’t let
go of you. There is a heavy, slow and very precise
work of setting up with the two cameras, because
of the split screen. Sometimes he moves the camera
4 inches, and it makes a real difference. And while
he is searching, the actor has time to brew. Then he
launches us, with things to say or encounters, and
we refine it, take after take.
 VORTEX
BY GASPAR NOÉ
CAST
The Mother Françoise LEBRUN
The Father Dario ARGENTO
The Son Alex LUTZ
The Grandson Kylian DHERET

CREW
Produced by Edouard WEIL, Vincent MARAVAL,
Brahim CHIOUA
Directed by Gaspar NOÉ
Written by Gaspar NOÉ
DP Benoît DEBIE
Sound Ken YASUMOTO
Production Designer Jean RABASSE – ADC
Costume Designer Corinne BRUAND
Editors Denis BEDLOW
Gaspar NOÉ
Line Producer Serge CATOIRE
1st Assistant Director Claire CORBETTA DOLL

FINANCIAL PARTNERS
Production RECTANGLE PRODUCTIONS
WILD BUNCH INTERNATIONAL

Coproduction LES CINÉMAS DE LA ZONE

KNM
ARTEMIS PRODUCTIONS
SRAB FILMS
LES FILMS VELVET
KALLOUCHE CINÉMA

With the participation of CANAL+

CINÉ+

With the support of CENTRE NATIONAL DU CINÉMA ET

DE L’IMAGE ANIMÉE

In coproduction with SHELTER PROD

With the support of

TAXSHELTER.BE & ING
TAX SHELTER DU GOUVERNEMENT FÉDÉRAL
DE BELGIQUE

French Distribution WILD BUNCH

International Sales WILD BUNCH INTERNATIONAL
 A FILM PRODUCED BY
RECTANGLE PRODUCTIONS AND WILD BUNCH INTERNATIONAL

WRITTEN AND DIRECTED BY GASPAR NOÉ

FRANCE - RUNNING TIME: 2H22 - FORMAT: SCOPE 2:39 - COLOR - SOUND: 5.1

INTERNATIONAL SALES

www.wildbunch.biz

INTERNATIONAL PR
Ryan Werner Charlie Olsky Kara Maclean
[email protected] [email protected] [email protected]
+1 917 254 7653 +1 917 545 7260

© 2021 RECTANGLE PRODUCTIONS – WILD BUNCH INTERNATIONAL – LES CINÉMAS DE LA ZONE – KNM
ARTEMIS PRODUCTIONS – SRAB FILMS – LES FILMS VELVET – KALLOUCHE CINÉMA
Visa d’exploitation N° 155 193