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A dance company rehearses a new show in an isolated, all but abandoned school building. The routines are amazing and energetic; things are going well. Then someone puts LSD in the afterparty punch. As the drug takes effect, dancers break into factions, and resentments and desires come out into the open. Soon the troupe is staging its own private apocalypse.
Sofia Boutella (Kingsman, Atomic Blonde stars in a story that pushes boundaries — and then destroys them entirely. Director Gaspar Noe (Enter the Void) applies his uniquely hellish touch to create a beautifully nightmarish movie that is unlike anything else in theaters.
- Sofia Boutella
- Romain Guillermic
- Souheila Yacoub
- Kiddy Smile
- Claude-Emmanuelle Gajan-Maull
- Giselle Palmer
- Taylor Kastle
- Thea Carla Schott
- Sharleen Temple
- Lea Vlamos
Did You Know?
- The scenes were shot chronologically.
- While the movie is supposed to be set in 1996, which is confirmed by the clothes, the music and the lack of smartphones, the French spoken in the film is very much 2010s, with many anglicisms or other recent verbal tics heard throughout the movie. This is due to the improvised dialogue from the cast working off of a five-page script.
- Selva: Oh, you're so good! Thank you, thank...
- Psyche: You liked it?
- Selva: I'm so happy. I couldn't be happier.
Atom User Reviews
I actually left because it got to be a little too disturbing for my taste. The first 45 minutes could have been wrapped up in about 20 minutes. however, if you're into trippy movies you will like this.
This movie was somewhere between stepping on a pile of legos and kicking something really hard with your cold pinkie toe.
If you like postmodern gimmickry and modern dance, and are OK with sitting through nearly 10 minutes of staged talking-head interviews, glum stoner talk about abortion, nausea-inducing filmmaking, characters whose motivations don’t make sense, horror, exploitative child death, and a quasi-coercive lesbian make-out—but just don’t care to be reminded “Drugs! Are! Bad!”: Leave 89 minutes in. Or don’t come at all, because Climax really isn’t about anything more than that.
Pairing his usual boundary-pushing sex-and-drugs fixation with a vital presentation of wildly exuberant dance and movement, Gaspar Noe has made a film that’s seductive in its rhythms and bold visualization of his young dancers’ sometimes beautiful, other times brutal somatic expressiveness.
You may emerge from Climax, as from a full-on club night, feeling shattered and asking yourself what was the point of it all. But there’s no denying the mastery of Noé and his team, and the extravagant talent of his cast.