Vortex

Life is a short party that will soon be forgotten.

"Vortex’s premise and plotting stir inevitable memories of Michael Haneke’s Amour. Except that Gaspar Noé’s film is darker, grubbier, almost a 19th-century shtetl tale with its focus on hunched bodies and pained faces in dimly lit narrow rooms. It’s more formally inventive too. Noé’s big innovation is to shoot the entire thing in split-screen, with two handheld cameras trained on the protagonists throughout, even when they sit side by side on the settee or lie together in bed. 'There’s that man following me everywhere', Mother complains at one point and we can’t say for sure whether she is referring to her husband, the camera operator or something else altogether." - The Guardian