This review of “Lux Aeterna” was first published on May 20, 2019, after its premiere at the Cannes Film Festival.Cinematic provocateurs have flourished at the Cannes Film Festival for years, with everyone from Jean-Luc Godard to Lars von Trier coming to the Croisette with works designed to provoke, confront or even annoy an audience.
At this year’s festival, you could say that some of the extreme sections of Nicolas Winding Refn’s “Too Old to Die Young” have been designed to test an audience’s limits and make viewers uncomfortable.But nobody does provocation these days quite like Gaspar Noe does.
Since he broke out on the arthouse circuit with the brutal “Irreversible” in 2002, the Argentine director has been seeing how far he can go in a variety of unpalatable directions, making him a maestro of transgression whose audience shows up so that he can mess with them.In Cannes in recent years, he’s presented a hardcore sex film in 3-D (“Love”) and a hallucinogenic dance film that ends in nearly an hour of drug-fueled chaos and violence (“Climax”).
This year, he’s back with a twisted meditation on movies, religion, torture and lots of other stuff, though its main purpose seems to be to shout at the audience and flash things in our face.The thing is, Noe is accomplished enough as a filmmaker that “Lux Aeterna,” which premiered in Cannes over the weekend, has a sort of twisted beauty to it.
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