The Sound Revolution of The Blue Angel

In 1930, the first German "talking" film, Der Blaue Engel or The Blue Angel directed by Josef Von Sternberg, was released. The importance of the film, in my opinion, lies not only in its use of sound in a “technically”, but also as a "narrative element”. In a very short time, the film took advantage of the newly developed sound techniques of the time in a way that was very far ahead of its time compared to contemporary films. For me, it represents an important historical moment in the use of sound and a starting point for many important films, such as Fritz Lang's M.

In 1927, Specifically in America, a film called The Jazz Singer was released, which was the first "talking" film in the history of cinema. Due to the fascination of the audience and the success of the film, the introduction of sound into the film industry was accelerated.

Sound recording technology and equipment evolved, and directors began to use them in their films. However, the situation was a bit confusing. In any scene with movement, the films were treated as silent films, and the dialogue scenes were recorded with sound, nothing more and nothing less.

This was what fascinated me about The Blue Angel, how much it was ahead of its time in treating sound and using it as a narrative and expressive tool.

The soundtrack of this film is full of details that are much more complex than the dialogue. For example, there is a very strong focus on the sound of the space—which was almost non-existent before this film. The sounds of each place are built in a very conscious way, the streets at different times of the day with different levels of congestion, the laughter and shouting of people in the cabaret, the distant sound of music coming from outside in the middle of the dialogue, small details like these are what create a unique world for the film.

One of the greatest things that sound has brought to cinema, in my opinion, is "silence", and its use in the film was very intelligent and  ahead of its time. There were cuts from very loud moments to completely silent moments to create tension, and intense emotions.

The Blue Angel stands out not just for being an early "talkie," but for its groundbreaking use of sound as a storytelling tool. By meticulously crafting soundscapes and employing strategic silence, the film creates a truly immersive experience far exceeding the limitations of its contemporaries.  This innovative approach to sound design paved the way for future films to explore the full potential of this new cinematic element, solidifying The Blue Angel as a landmark achievement in film history.

Doomed Hopes For the 96th academy awards

Tonight, as the clock hits 3:00 a.m., when most sane people are falling asleep, I'll be wide awake, eagerly awaiting the masochistic delight known as the Academy Awards. Yes, it's another year of indulging in this peculiar childhood habit, which is as difficult to break as it is to rationalise. And tonight's event promises to be particularly disappointing, given it appears to be overshadowed by Oppenheimer's coronation. Yet here I am, willingly exposing myself to what feels like self-imposed punishment.

To make it even worse, I'm not one for making simple predictions; instead, I painstakingly compile a list of my own picks and wishes, just to watch in dismay as the Academy joyfully shatters each one. With that in mind, here are my doomed hopes for the 96th Academy Awards:

Actor In A Leading Role - Paul Giamatti in "The Holdovers"

In a year full of memorable performances, Paul Giamatti's portrayal of Paul Hunham in The Holdovers stands out as a magnificent example of acting at its best. Giamatti's ability to communicate complicated emotions through subtle gestures and expressions is nothing short of remarkable. His portrayal of Hunham, a figure torn between past regrets and uncertain futures, is both moving and effective. 

Actor in a Supporting Role - Robert Downey Jr. in "Oppenheimer"

Robert Downey Jr.'s portrayal of Lewis Strauss in Oppenheimer isn't anything less than groundbreaking. In a character that demonstrates his breadth and versatility as an actor, Downey Jr. gives a captivating performance that leaves an impact. His portrayal of Strauss, a man dealing with moral quandaries and personal demons, is sophisticated and compelling. Downey Jr.'s intriguing presence and commanding performance take the film to new heights, and he deserves to be recognised for his extraordinary contribution.

Actress in a Leading Role - Emma Stone in "Poor Things"

Emma Stone's performance as Bella in Poor Things is a stunner. Stone offers a captivating performance that grabs from start to finish in a character that defies traditional storytelling conventions. Her portrayal of Bella, a girl dealing with the complexity of life and love, is both brave and sympathetic. With her exquisite timing and emotional depth, Stone brings the character to life with honesty and grace. 

Actress in a Supporting Role - Da'Vine Joy Randolph in "The Holdovers"

Da'Vine Joy Randolph's performance as Mary Lamb in "The Holdovers" is outstanding. Randolph provides a powerful performance that highlights her talent and ability as an actress. Her portrayal of Mary, a woman dealing with grief and longing, is both honest and fascinating. Randolph's captivating personality and emotional depth add a feeling of realism to the character, making her journey both sympathetic and engaging.

Animated Feature Film - "The Boy And The Heron"

The Boy And The Heron is a cinematic masterpiece that goes beyond the limitations of standard animation. The film captivates and moves the audience with its magnificent images and sincere content. The Boy And The Heron, directed by Hayao Miyazaki, demonstrates the power of storytelling and the wonder of animation. The film, with its global themes and everlasting appeal, deserves to be recognised as one of the year's best animated features.

Costume Design - "Poor Things"

Poor Things is a visual feast for the eyes, thanks to its breathtaking costume design. From the exquisite details to the vibrant hues, each clothing in the film is a work of art. Poor Things' costumes, designed by Holly Waddington, encapsulate the personality of the characters while also transporting the audience to the film's world. 

Directing - Yorgos Lanthimos in "Poor Things"

Yorgos Lanthimos' direction in Poor Things is nothing short of visionary. Lanthimos' bold storytelling and imaginative approach to filmmaking provide an unusual viewpoint on the screen. Lanthimos' Poor Things conjures a universe that is both familiar and fantastical, expertly mixing parts of reality and surrealism. Lanthimos' great eye for detail and unwavering vision propel Poor Things to new heights, and he deserves to finally be recognised for his superb direction.

Documentary Film - "Four Daughters" by Kaouther Ben Hania

Four daughters, Kaouther Ben Hania's latest film is a touching and courageous portrayal of loss, grief, and the unbreakable spirit of womanhood. In this film, Kaouther effortlessly blends the lines of documentary and fiction, generating a narrative that is both engaging and devastating. The movie is a masterclass in storytelling. The story takes on almost therapeutic qualities as the family revisits their shared trauma, each from their own distinct perspective. Four Daughters is a film that will stick with you. Its beauty rests in the way it tells its story, delves into the complexity of its characters, and provides a narrative that is equally about survival and loss. This is more than simply a film; it's a journey that is at times terrible, at times healing, and always deeply human.

Editing - Thelma Schoonmaker in "Killers of the Flower Moon"

Thelma Schoonmaker's editing in Killers of the Flower Moon is a masterclass in storytelling. Schoonmaker's great sense of timing and rhythm delivers a seamless and immersive cinematic experience that holds viewers' attention from start to finish. In Killers of the Flower Moon, Schoonmaker deftly navigates the narrative's complexity, seamlessly blending together several stories. Schoonmaker needs to be recognised for her exceptional editing because of her unequalled talent and dedication to her art.

International Feature Film - "Perfect Days"

Perfect Days is a cinematic gem that transports viewers to a realm of enchantment and imagination. Wim Wenders'  film celebrates the human spirit and the potential of art to brighten our lives. Perfect Days captivates the audience from beginning to end, leaving a lasting impression. In a year loaded with remarkable international films, Perfect Days deserves to be recognised as one of the greatest.

Makeup and Hairstyling - "Poor Things"

As I said before, Poor Things is a visual feast for the eyes. The makeup in Poor Things not only enhances the characters' looks, but it also gives depth and texture to the film's world. Poor Things' makeup leads the viewer to a world of fantasy and imagination, with its vibrant colours and detailed designs. Similarly, the hairstyling in Poor Things is outstanding, with each hairstyle expressing the characters' personalities and styles. Poor Things' makeup and hairstyling combine to create a visually appealing look that adds to the overall cinematic experience.

Original Score - "Oppenheimer"

The score in Oppenheimer plays an important role in generating the film's immersive atmosphere and emotional depth. Ludwig Göransson composed the score for Oppenheimer, which captures the heart of the drama by invoking a spectrum of emotions from tension and suspense to sorrow. The music in Oppenheimer takes the film to new heights, with evocative melodies and dramatic orchestrations.

Original Song - "What Was I Made For" by Billie Eilish from "Barbie"

Billie Eilish's original song "What Was I Made For" from Barbie is a sombre and deep look at the film's themes. The song, with its ethereal voices and melancholy music, captures the story's central existential questions. Eilish's passionate delivery and evocative lyrics evoke feelings of desire and uncertainty, perfectly matching the film's narrative and adding depth to the whole cinematic experience.

Production Design - "Poor Things"

Every detail in Poor Things, from the intricate sets to the carefully curated props, is precisely constructed to take the audience into the film's world. Poor Things' production design, created by Shona Heath and James Price, conveys the heart of the story while also improving the overall cinematic experience. Poor Things deserves to be recognised for its superb production design, which features inventive concepts and attention to detail.

Sound - "Oppenheimer"

The sound design in "Oppenheimer" plays an important role in generating the film's immersive atmosphere and improving the overall viewing experience. Oppenheimer's sound design is precisely crafted to bring the audience to the film's world. With its masterfully produced soundscapes and evocative use of silence, Oppenheimer's sound design adds depth and texture to the plot, immersing the audience in the film's universe and improving the overall cinematic experience.

Best Original Screenplay - "Past Lives"

Celine Song's original screenplay for Past Lives goes beyond the confines of a typical love story, providing a very moving exploration of the interconnectedness of lives throughout time and space. Song brings spectators into a world where individuals' paths diverge and merge, and where echoes of former lives impact the present and future. Past Lives resides in a world where thinking and action, silence and speech collide, resulting in a perplexing and emotionally intense narrative that stays in the minds and emotions of viewers.

Best Adapted Screenplay - "Poor Things"

With its engaging plot and emotionally resonant characters, Poor Things is a great example of a successful adaptation that combines surrealism and sci-fi with political and social commentary, and it deserves to be recognised for its outstanding contribution to film.

Best Picture - "Poor Things"

In my perspective, Poor Things is the best film of the year, capturing everything I love in cinema. With its creative imagination, unique characters, and engrossing world-building, the film goes above the ordinary to provide a remarkable cinematic experience. In a year full with exceptional films, Poor Things stands out as an example of creativity, innovation, and storytelling prowess, garnering my vote for best picture of the year.

Hiding Saddam Hussein

2023

Documentary

Iraq

Director: Halkawt Mustafa

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Hiding Saddam Hussein (2023), directed by Kurdish filmmaker Halkawt Mustafa, is a documentary revealing the final days of Saddam Hussein through the lens of Alaa Namiq, the Iraqi peasant who concealed him for 235 days from 150,000 American soldiers during the Iraq war. While the film enthralls with its captivating narrative and innovative structure, it ultimately squanders its potential by failing to critically engage with the complexities of its subject.

Mustafa’s cinematic language is particularly noteworthy, employing a smart and thrilling approach to storytelling.Mustafa weaves together three distinct threads: Alaa’s long interview, archival footage, and cleverly constructed dramatizations.The dramatized sequences, in particular, are a highlight, resembling visual fragments of Alaa’s memories. These fragmented glimpses into the past, shrouded in low-key lighting and enigmatic camera angles, evoke a sense of poetic memory, drawing the viewer into the heart of Alaa’s experience.

The powerful narration by Alaa, coupled with these cinematic elements, successfully immerses the audience in the tension and intrigue of the story. The filmmaker’s ability to maintain suspense, even when the ultimate outcome is known, speaks to the documentary’s effective structure and Mustafa’s storytelling skills.

However, the documentary falls short in its exploration of the moral and political implications surrounding Saddam Hussein. The film’s conclusion, where Alaa describes Saddam as a friend, raises important questions about the ethical stance it adopts and the validity of the argument it tries to construct.

One must question whether 235 days spent with a man in his most vulnerable state, seeking refuge and protection, provide a sufficient basis for forming a definitive judgment about his character. The undeniable reality is that Saddam Hussein’s legacy is far more complex than Alaa’s personal experience can encompass. Hundreds of thousands of Iraqis, including Kurds and Shias, suffered under his regime. Thousands were subjected to torture and execution, leaving behind countless families shattered by his actions.

While Mustafa successfully humanizes the infamous dictator during his weakest moments, the film neglects to address the broader context of Saddam’s actions and the impact on countless lives. The question arises: is it justifiable to reduce a complex figure like Saddam Hussein to a mere “friend” based on a brief period of shared vulnerability?

Hiding Saddam Hussein had the potential to be an exceptional documentary. It possessed a unique story and a compelling narrative structure. However, the naivety and superficiality of the concluding statement undermine the depth that the film could have achieved and diminished it’s impact and credibility. Instead of offering a nuanced portrait, it leaves the audience with a skewed view of history and a troubling sense of naivety.

the wonderful story of henry sugar

2023

Short

USA

Director: Wes Anderson

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The Wonderful Story Of Henry Sugar is Wes Anderson’s most recent film — also his second release of the year — and it’s surprisingly a short film.

This film adapts Roald Dahl’s 1977 short story of the same name, marking Anderson’s second foray into Dahl’s works after Fantastic Mr. Fox (2009).

Back in September 2021, Netflix made headlines by acquiring the Roald Dahl Story Company for a staggering $686 million. This film will be a part of four short film adaptations of Dahl’s tales, all crafted and directed by Wes Anderson. The forthcoming titles include “The Swan,” “The Ratcatcher,” and “Poison.”

Before its Netflix release, The Wonderful Story Of Henry Sugar had its premier at the 80th Venice International Film Festival.

The plot revolves around a wealthy individual who stumbles upon a guru possessing the extraordinary ability to see without using their eyes. Intrigued by this, the rich man tries to master this skill, with the intent of using it for gambling.

Wes Anderson consistently surprises audiences with his distinct filmmaking style, characterized by a well-developed aesthetic that might lead one to believe it has reached its limits. Yet, with each new release, Anderson manages to introduce innovative elements that captivate viewers.

Speaking of innovation, The Wonderful Story Of Henry Sugar arguably stands as Anderson’s most visually creative work. It surpasses even Asteroid City (2023), It liberates itself from traditional constraints, immersing the audience in a world of dynamic theatrical backdrops that seamlessly transition. This film represents the culmination of Anderson’s evolution towards this unique style.

What truly sets this film apart is its narrative approach. In a bold move, Anderson practically recites every word of Dahl’s story within the film, resulting in a narrative within a narrative within a narrative. Most notably, Anderson shatters the fourth wall, allowing characters to directly address the camera while simultaneously acting out the story in a playful, clever, and visionary manner.

The Wonderful Story Of Henry Sugar not only demonstrates Wes Anderson’s ongoing mastery as a filmmaker but also boldly pushes the boundaries of the cinematic art form, redefining what it is and what it has the potential to become.

UNSPOKEN CONVERSATION

Cinema possesses a captivating ability to capture human emotions and relationships. Equally fascinating is how the personal experiences of its creators help us discover insights about ourselves.

There’s one case that deeply connects with me, and it involves two films I truly adore: Sofia Coppola’s Lost In Translation and Spike Jonze’s Her.

Apart from the fact that Coppola and Jonze are among the most talented directors of their generation, they were once married. Both films were created after their divorce, and due to the content of these films and several other factors I’ll discuss, we can argue that both films tell a similar story.

In 1999, Sofia Coppola and Spike Jonze tied the knot. At that time, both were enjoying successful points in their careers. Sofia had just garnered critical acclaim for her debut film, The Virgin Suicides, while Spike, known for his groundbreaking work in the music video industry, made his directorial debut with Being John Malkovich, establishing himself as a visionary filmmaker. Unfortunately, in 2003, they ended their marriage with a divorce.

Sofia Coppola and Spike Jonze are both, in one way or another, artists who craft “personal projects.” Their lives and experiences play a significant role in shaping their narratives and their art.

In this context, one can analyze both films in tandem, uncovering their shared elements as well as their differences, which reflect the marriage and divorce experiences of each filmmaker. What’s particularly intriguing is how each of them perceives themselves and the other person within their respective stories.

Lost In Translation

Sofia’s film narrates the tale of two individuals adrift in their lives. Charlotte is an emotionally neglected wife, married to John, a photographer who is always immersed in his work. Their relationship lacks any genuine connection, leaving her mostly alone in Tokyo, where he is busy with his job. Bob, on the other hand, is a middle-aged actor who has lost his fame and glamour. His family relationships are strained, and he arrives in Tokyo to shoot a commercial for a whiskey company, feeling lost and as if he’s merely going through the motions of life.

At its core, Lost In Translation is a film that explores themes of loneliness, isolation, the loss of connections, and the search for meaning.

Throughout the story, Charlotte grapples with a profound sense of isolation. Even when her husband is physically present, he remains emotionally distant. In Tokyo, she finds herself alienated from the culture and language, struggling to establish any meaningful connections, even with her own self.

The initial time we encounter Charlotte in a full view on screen is in a long shot, where she sits before a large hotel window, enveloped by the sprawling cityscape before her, a visual portrayal of her isolation.

Charlotte subsequently endeavors to establish a connection with her surroundings and embarks on a quest for purpose. She engages in cultural activities, explores the city on foot, and goes as far as purchasing an audiobook on the pursuit of meaning. Ironically, each attempt she makes only serves to distance her further, intensifying her feelings of alienation and isolation rather than leading her toward a connection.

After some time, Charlotte undergoes an existential crisis that deepens her disconnect from both herself and her life, leaving her at a crossroads where she begins to question the choices she has made.

Charlotte’s primary issue lies in the emotional disconnect between her and John. The aimless moments they share, coupled with their shallow interactions with his friends, illuminate the vast chasm and emptiness within their relationship. This prompts her to seek connection elsewhere.

This occurs when she meets Bob. From the moment they meet, a distinctive and profound connection blossoms between them. Both of them are adrift and experiencing difficult phases in their lives, both emotionally and psychologically. Their conversations create a sense of companionship, reassuring them that they are not alone, and they swiftly forge a significant understanding and connection.

The lost Bob unexpectedly assumes the role of a mentor figure for her, offering life guidance that in many ways reflects his own inner dialogue. Meanwhile, Charlotte rekindles Bob’s zest for life, culminating in a captivating sequence where they playfully run through the neon-lit streets and arcade spaces of Tokyo, evoking a childlike sense of joy.

Throughout the journey of Bob and Charlotte, Lost In Translation profoundly delves into themes of isolation, disconnection, and the search for meaningful connection.

Her

Her takes place in a futuristic city and narrates the tale of Theodore, a recently divorced and isolated man who develops a romantic relationship with Samantha, an artificial intelligence — ironically played by Scarlette Johansson.

Her explores themes of loneliness, isolation, and the search for a profound connection. It also raises inquiries about the nature of such connections and the challenges of moving forward after losing a deep and meaningful relationship, in a really thought-provoking premise.

Following his divorce, Theodore became an extremely isolated individual. Catherine’s departure leaves him in a state of grief and emptiness that he struggles to cope with, creating a complex situation that the film goes on to explore.

His coping mechanism involved immersing himself in the new games and technologies of the era, ultimately leading to his encounter with the AI, Samantha.

In Samantha, he finds the companionship he had been missing. She provides him with a sense of intimacy that he had struggled to find in other people following Catherine’s departure. Samantha essentially becomes his sanctuary, effectively filling the void left by Catherine.

In this context, the film unveils the complexities and contradictions inherent in the solution Theodore has found. Even though Samantha fulfills his needs, it raises questions about the authenticity and sincerity of their relationship.

Two Films, Two Directors, One Conversation

The distinctions and resemblances between the two films mirror Sofia and Spike’s perspectives on their marriage and divorce.

Essentially, both films revolve around coping with isolation following the conclusion of a significant relationship.

In Lost In Translation, Charlotte grapples with the aftermath of her “emotional breakup” with John, which leaves her deeply isolated within her own world and self.

In Her, Theodore severs his connections with both the world and himself following his divorce from Catherine, resulting also in his own isolation.

This serves as the starting point for both films, and they both delve into the process of grappling with the aftermath of such situations.

Following this period of isolation, both films embark on a search for connection and the pursuit of genuine, meaningful relationships. In “Lost In Translation,” this journey is embodied in Charlotte’s relationship with Bob, while in “Her,” it is epitomized by the connection between Theodore and Samantha.

The conclusions of both films, in a way, convey a sense of hopefulness, but it’s intriguing to note that they are markedly distinct from each other.

Sofia Coppola’s conclusion suggests that in the most distant and unlikely of circumstances, individuals in very distinct phases of life can forge a genuine connection — a rather idealistic conclusion.

On the other hand, Spike Jonze approaches the conclusion with a mature and pragmatic perspective. After his heartbreak, his divorce, and his failed relationship with Samantha, he arrives at the realization that his happiness and sense of connection are not fundamentally dependent on external factors; they must originate from within himself.

As previously mentioned, an intriguing aspect of this analysis lies in the perspectives we hold of ourselves and others, as well as how we are perceived by others on different sides of these parallel narratives.

In the context of both films being narratives about pivotal moments in the lives of their respective filmmakers, we can draw a parallel where Catherine represents Sofia Coppola, Theodore embodies Spike Jonze in Her, and in Lost In Translation, Charlotte represents Sofia while John embodies Spike.

In Sofia’s perspective within the narrative, Jonze’s presence is scarcely evident. He is depicted as an inattentive husband, neglecting her, and lacking any meaningful connection. He remains preoccupied with work and friends, keeping a considerable distance.

In Jonze’s narrative, we witness a different side of him — a kind and sensitive individual who struggles to move on from the divorce. He finds it difficult even to sign the paperwork, portraying a John, or Jonze, in contrast to what we saw in Sofia’s perspective.

Similarly, this duality applies to Charlotte and Catherine. Charlotte is depicted as a successful but lost individual in need of support, love, and meaningful connection from her partner. However, in the case of Catherine, Jonze adopts a more conservative approach, showing her only through fleeting glimpses of happy memories, reflecting what he remembers or perhaps what he chooses to remember.

The realization of how we perceive ourselves and others, and how we are perceived, is a fascinating and thought-provoking subject. Despite having shared years together, when each one speaks about the other and themselves, we observe two entirely distinct individuals.

Personally, I hold an appreciation for both films, with perhaps a slightly stronger affinity for Lost In Translation. Moreover, I value them even more when viewing them as an unspoken dialogue between Sofia and Spike.

Le Temps Detruit Tout

Like many of Gaspar Noé's films, Irreversible is controversial and horrific in its depiction of sexual and physical violence, which has made it hard to see (or, as some have put it, unwatchable).

A large number of spectators left the Cannes Film Festival in 2002 during the film’s screening. People said it "wasn't a film", and if that's the case, then why is it showing at the festival? At first look, one could even come to agree with this...but Irreversible is a "film" and a significant one that offers an interesting philosophical and intellectual argument.

The phrase "Le Temps Detruit Tout" is spoken by a character who had previously appeared in two Noé films prior to Irreversible. However, we will not be discussing this character here; instead, we will return to the statement. Considering this sentence and its meaning, the sentence translates to, "Time destroys everything." Taking this sentence into consideration along with In the narrative form of the film, it is possible to take the film seriously intellectually and philosophically.

The presence and clarity of cause and effect is an important element of the conventional film structure. It is the idea that everything that takes place has a purpose and ultimately leads to the next event. The film Irreversible does a good job of maintaining this, but it goes even further than that. It turns it around.

The plot of the film irreversible is told in reverse. As we'll see, the very first scene of the film serves as the story's climax.

As with the subsequent Noé films, the film opens on a street where the camera floats . It then takes us into a room where two men are chatting. And it is at this very moment when the words "Time destroys everything" are said. They talk about their perspectives on what constitutes good and evil, arguing that there are no deeds that are fundamentally good or wicked; rather, there are only actions.

The next action unfolds on a street outside a building called "Rectum." A man who is unconscious is carried out onto a stretcher and subjected to insults from the onlookers. Subsequently, another man comes out  from the building, and the police detain him.

We learn that the "Rectum" is a BDSM Gay Club and that the two are on the hunt for a guy named "La Tenia" in the subsequent scene, where we see them entering the building together. His friend Pierre, who had been arrested, came to his rescue and brutally killed the man with a fire extinguisher after Marcus, who had been on a stretcher in the previous scene, clashed with someone who they suspected of being La Tenia. The man broke Marcus's arm and attempted to rape him.

In the following scene, Pierre and Marcus are in a cab, and they want to know the address of a place called "Rectum." Everyone who has watched the film up to this point should be able to understand how the movie works.

They are joined by a gang of young men in the street as they search for an individual identified as "Guillermo Nunez" in the following scene. After some time, we learn that the individual is actually a transgender prostitute named Concha, and they start questioning her to find out where "La Tenia" is. Following considerable physical force and threat, she finally reveals that he is in a location known as "Rectum."

The following scene finds Pierre and Marcus in shock and breakdown, standing in front of police and paramedics. Marcus is asked by the young man from the previous scene if he wants retribution, and the answer is yes.

After then, we see Marcus and Pierre standing outside what appears to be a house after a party. A woman on a stretcher emerges from a tunnel, and they witness her. As soon as Marcus lays eyes on her, he recognises his girlfriend Alex and learns that she was raped in the tunnel.

After Alex exits the party, the following scene finds her flagging down a cab. A passerby informs her, "The tunnel is better," as she makes her way across the street. In order to cross the street, she heads to the tunnel. She is terrified of the red tunnel, but she is also fearful of someone striking someone. As we move closer, we see that Concha was the one questioning her. At first, she is accompanied by La Tenia. Upon seeing Alex, he immediately leaves her and proceeds to beat, abuse, and rape her in an extremely tough scene that lasts approximately eleven minutes. Here we find out that the man who died wasn't La Tenia; in fact, he was the one who saw them fight in the opening of the film.

Alex, Pierre, and Marcus are shown during the celebration in the subsequent scene. Alex decides to leave the party and walk alone after Marcus treats her outrageously while under the influence of drugs and alcohol.

In the subsequent scene, we observe the trio boarding the metro to reach the celebration, during which we find out that Pierre was once in a relationship with Alex.

In the following scene, we observe Marcus and Alex enjoying a romantic morning together. Alex shares a dream in which she was in a red tunnel. At the end of the scene we know that she is pregnant.  

The film concludes with kids playing, and this is where the line, "Time destroys everything," appears again. The film ends with Alex reading a book about dreams in a garden next to the house. This scene also happens to be the first event in the story.

From this point on, we can ask as why the film is structured this way, or perhaps more precisely, as to what would have occurred if it had been presented in a chronologically.

If "Irreversible" had followed a more conventional plot, it may have been another violent Rape & Revenge movie or one dealing with the aftermath of a horrific act. Nevertheless, This is only the beginning of Noé's pessimistic perspective on life and human beings. 

Noé is well-known for his films that are considered to be part of "The New French Extremity," which is a movement that prioritises addressing the ugly qualities of mankind rather than blaming or repairing them.

"Time destroys everything" is Noé's attempt to express his pessimistic outlook on life through this film.

We mature, get sick, and go through tough times because of the passage of time. The film Noé elevates the viewpoint through its narrative structure. After witnessing this tragic day, "on the contrary," we do not react positively to the film's third act, which is filled with joy and love. Characters are shown to us, and we are aware of their fates. Still, it remains unknown to them... Time, according to this argument, annihilates not only the future but also our perceptions of the past. Time destroys everything.