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Vortex (2021)

Lui, a struggling author with a heart condition, and his wife Elle, a retired psychiatrist, find their idyllic life shattered when Elle begins to succumb to the effects of dementia.

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Eric Kohn 17 Jul 2021

The filmmaker has made a rather soulful look at what it means to grasp onto life in its waning moments, and invites his audience into the center of that dilemma.

Phil de Semlyen 12 May 2022

This is obviously a deeply personal subject for Noé, who has spoken about experiencing the fallout of dementia first-hand. But while his film gradually pummels you, it can’t match 2021’s superb dementia chamber piece The Father for impact or insight. As it grinds towards its slightly contrived ending, it does start to feel like rubbernecking.

Justin Chang 06 May 2022

It is a remarkable piece of filmmaking, rigorously controlled in ways that he doesn’t always evince: It’s a bone-deep sensory immersion that never feels merely sensationalist, anchored by two performances of astonishing commitment and emotional power.

TVJerry 15 May 2022

Writer/director Gaspar Noé is known for his unique visual style and willingness to experiment. He keeps it up with his latest effort revolving around an aging couple in Paris, followed simultaneously on split screens. Her dementia (Françoise Lebrun) is advancing rapidly, while he (famed Italian director Dario Argento) has to deal with her erratic behavior and his own health issues. The dual images are interesting, observing their behaviors without much cinematic interference. She wanders aimlessly, while he tries to write his book and cope with her. Each scene is extended with plenty of silence and minimally interesting dialogue, which was often improvised. Noé's love of a distracting "blink" between every cut (a few frames of black) serves to pull the viewer out of the experience. Some will appreciate the measured pace and naturalistic approach, while others will find the cinematic gimmick gets in the way of any real emotional connections.

Rory O'Connor 17 Jul 2021

At 145 minutes, few locations, and very little dialogue, this unflinching look at the fate that awaits us is anything but expeditious—yet it demands to be seen, a radical film with as much capacity to shock as it does to burden the tear ducts. It is amongst his very best.