Explicit unsimulated sex as an attraction aside, this is probably Noe’s worst film—too meandering, overlong and built around an annoying ‘inner thoughts’ voiceover that quickly becomes tiresome.

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When a loved one has dementia, he or she feels so near yet so far—this universal feeling is ontologically perfected by Noe in cinematic terms through the split-screen technique, which forms the backbone of this grim but emotionally powerful documentary-esque work about ageing, mortality and love. 

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One of the defining highlights of the New French Extremity canon, Noe’s reverse-chronological film about the repugnant extremes of toxic masculinity belies the fact that it is not just an incredible work of formal brilliance but a deeply human treatise on the permanence of action and consequence.

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Modern dance and LSD combine in this lethal and relentless psychedelic nightmare that never lets up.

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