The director Gaspar Noé is fond of making films in which characters are raped and beaten, or in which a drug trip turns into a journey to hell. They are troubling to the stomach. They hurt the heart. So what does a man who is tickled by such horrors watch for pleasure?
“I’m hypnotized,” he said in an interview, “by good dancers.”
“Climax,” his most recent film, doesn’t just have good ones: They are great. But Mr. Noé also throws fear and revulsion into his movie about a party where punch laced — by whom? — with LSD is served. A pregnant woman is attacked, brutally. A mother locks her son in an electrical closet to keep him away from the increasingly deranged, drugged dancers. (He might have been better off hanging out with them.)
It’s fitting that go-for-broke dancing, and the private, messy and passionate lives of dancers, are the conduits that feed Mr. Noé’s latest creation. A body holds plenty of space for terror.
Like Fred Astaire teaming with Ginger Rogers, dance has found a perfect partner for a new kind of pas de deux: horror. It’s a fit. For Mr. Noé — he is an extreme director, and dance is an extreme art — a dancer’s body has a range of emotions that don’t simply land on good or evil.
Dancers are able to take risks while remaining physically articulate: this lends believability to their performances, which makes them, well, scary — and strangely sensual. In “Climax,” Mr. Noé explores the Dionysian meeting point of dance and horror by revealing a body that is both ecstatic and frightening. And, as he shows, a dancer knows how to let go.
“Climax” isn’t the only recent movie to match dance with horror. In last year’s remake of “Suspiria,” by Luca Guadagnino, a dancer finds herself in a modern company that doubles as a coven. (Lots of snapping bones.) The young ballerina in Darren Aronofsky’s psychological horror “Black Swan” (2010) battles her sanity as she pursues perfection.
And even though it doesn’t fall neatly into the horror category, last year’s “Red Sparrow” featured a horrifying moment. Jennifer Lawrence’s character breaks her leg during a performance — with a repulsive crack, her partner lands on it — which ends her ballet career but not her ballet mind-set. She takes the discipline and rigor of her dance training and applies it to her second career as a spy, notably in the art of seduction.
But horror can also be subtle — and even appear in disguise. In “The Red Shoes” (1948), the ballerina Victoria must choose between dance and love. What happens? She dances to her death. It’s a sumptuous, beautiful film, but it’s also chilling: Dance can make a person lose her propriety, her respectability and even her mind.
While the cinematic approaches are different, there is a common thread: Using the body as a force that steers clear of prettiness in favor of something more primal, raw and even ferocious. Beyond merely dark, it can get abhorrent.
Maybe what’s happening now in dance-horror is a reaction to things like Damien Chazelle’s sunny and sentimental “La La Land” (2016), with its earnest, naïve dancing that pays awkward homage to the mainstream tradition of the American musical; or the slick dancing of the Fox reality show “So You Think You Can Dance,” in which contestants perform choreography that has cheapened the form with its emphasis on tricks and speed. Bring on the witches.
Mr. Noé doesn’t watch ballet or contemporary dance; he said he liked Busby Berkeley when he was a child and considers “Showgirls” a kind of musical movie. (He’s a fan.) But he loves to dance. “I know it sounds stupid, but I like clubbing,” he said. “I like night life in a different way than I like daylight.”
He had an epiphany at a vogue ball in Paris in 2017. “The mood was so incredible in that ballroom,” he said. “There were, like, 300 people and no one was drunk, but they were crazy — shouting and dancing. And at that point, I said, I want to do a movie with these dancers.”
The “Climax” cast, led by Sofia Boutella — an actor who got her start as a street performer and danced with Madonna — is a mix of dancers who specialize in styles like vogueing, waacking and krump. While the film’s second half is full of movement in which the performers improvise their psychotic, possessed states as the LSD takes hold, it opens with a spectacular five-minute dance, with choreography by Nina McNeely, set to Cerrone’s “Supernature.”
Giddy and wild, it’s an example of order and abandon that says a thing or two about the transcendent joy of dance. Ms. McNeely said she was inspired by the film “A Chorus Line” (even though the look is the 1980s, she loves its camerawork) and Bob Fosse’s “The Rich Man’s Frug” from “Sweet Charity” (for its big group and patterns). She also knew that Mr. Noé would be using a crane; for one extended sequence, the dance is captured from above, giving it a hint of Busby Berkeley.
The first thing Mr. Noé told her was that he wanted to make a movie about energy. “O.K.,” she said, with a laugh. “A little vague. But it was totally true. He loved the dancers who were the most savage and he just wanted it to have a visceral feeling — like the feeling that you have when you see dancers going crazy at the club.”
Ms. McNeely, a Los Angeles-based choreographer and director who was recommended for the job by Ms. Boutella, a friend — scrambled to create the opening dance in two days, which is impressive given the nature of street dancers: They’re soloists, and they usually they don’t work with counts.
To break up their solo moments with synchronized choreography, she landed on the most ordinary of movements: walking. In the dance — which is one continuous shot — Ms. McNeely uses walking as a way to introduce characters, to serve as a frame around a soloist and, at times, to reveal dancers, almost like a curtain being parted. It gives the dance a clear structure. “Because of all the different styles, walking became the glue of the piece,” she said. “Think about it: That’s why people watch runway shows, because walking is awesome just to look at. It’s strong.”
And it speaks to the way dance and the body are used in the movie. There are no special effects: It’s just the body and the beat, and watching it is addictive — even for Mr. Noé. “When we go to festivals and I check the sound level before the movie starts, I usually stay so I can watch it over and over,” he said. “It’s probably my favorite scene in the movie because they’re dancing in such different ways, but altogether. You can watch on the right side and you can watch on the left side — you really discover new things all the time.”
Along with the drug scenes, where the dancing is both dreamy and unhinged, there’s another valuable choreographed moment in “Climax.” Mr. Noé originally planned to set his film during a rainstorm, but, he said, “after two days of shooting, it started snowing — heavy. I said, ‘Do you think we can get a drone and try to make this shot?’”
That scene occurs before the dance and, in a way, sets it up: “Climax” is a movie told through movement and here, a woman, stumbling and bloody, lurches and drags her way across a white backdrop — a snow-covered field.
He managed it in two takes. “People ask me, ‘Is this a reference the ‘The Shining’? Is it an homage? No!”
He laughed in delight. “The snow,” he said, “was there for us to take.”B:
【百】【里】【子】【玉】【猛】【地】【抬】【起】【头】【来】，“【清】【清】，【你】【这】【是】【答】【应】【了】？” 【蓝】【清】【悦】【眼】【中】【含】【泪】，【脸】【颊】【通】【红】，【羞】【涩】【地】【点】【了】【点】【头】。 【再】【次】【得】【到】【肯】【定】【的】【答】【复】，【百】【里】【子】【玉】【的】【脸】【上】【瞬】【间】【绽】【放】【开】【一】【个】【足】【以】【亮】【瞎】【人】【眼】【的】【笑】【容】，【一】【把】【抱】【起】【蓝】【清】【悦】，【原】【地】【转】【起】【圈】【来】，【哪】【里】【还】【有】【刚】【刚】【那】【温】【润】【公】【子】【的】【模】【样】。 “【亲】【一】【个】，【亲】【一】【个】。”【周】【遭】【的】【人】【笑】【着】【起】【哄】。 【此】【时】
【赵】【小】【天】【想】【不】【到】，【小】【心】【也】【想】【不】【明】【白】。 【胡】【一】【凡】【同】【样】【更】【不】【会】【解】【释】【什】【么】，【只】【是】【淡】【淡】【的】【说】【道】:“【准】【备】【一】【下】，【马】【上】【第】【二】【局】【了】。” … 【片】【刻】【后】，【第】【二】【局】【比】【赛】【正】【式】【开】【始】。 “【好】【的】，【经】【过】【短】【暂】【的】【休】【息】【一】【下】【之】【后】，【现】【在】【让】【我】【们】【继】【续】【回】【到】【比】【赛】【中】【来】。”【小】【瞳】【笑】【着】【说】【道】。 “【是】【的】。”【阿】【七】【轻】【轻】【点】【头】，【目】【光】【转】【向】【大】【屏】【幕】，“【本】【场】【的】
【永】【夜】【国】，【国】【都】【南】【海】【城】，【三】【面】【临】【海】，【地】【势】【狭】【长】。**【若】【想】【收】【复】【南】【海】【城】，【有】【三】【条】【计】【策】。 【一】，【依】【靠】【强】【于】【永】【夜】【数】【倍】【的】【海】【上】【力】【量】，【东】【西】【南】【三】【路】【抢】【滩】【登】【陆】，【北】【陆】【再】【施】【加】【以】【压】【力】，【四】【面】【围】【攻】，【永】【夜】【必】【破】，【此】【为】【上】【策】。 【然】【百】【越】【皇】【朝】【政】【局】【复】【杂】，**【为】【五】【皇】【之】【末】，【御】【驾】【亲】【征】【只】【得】【万】【象】【城】【六】【大】【赏】【金】【猎】【人】【支】【持】。【既】【无】【雄】【厚】【财】【力】【购】【买】【战】【船】，管家婆马报彩图2018年85期【之】【所】【以】【那】【么】【说】，【无】【非】【就】【是】【看】【上】【了】，【但】【又】【不】【想】【浪】【费】【口】【舌】，【索】【性】【便】【先】【发】【制】【人】。 【反】【正】【对】【她】【们】【而】【言】，【商】【品】【卖】【给】【谁】【都】【是】【一】【样】【的】，【再】【加】【上】【向】【暖】【今】【天】【在】【他】【们】【这】【里】，【里】【里】【外】【外】【花】【了】【不】【下】【三】【百】【万】，【实】【在】【是】【找】【不】【出】【理】【由】【让】【她】【不】【高】【兴】。 【至】【于】【黎】【穗】。 【的】【确】【有】【些】【不】【开】【心】。 【但】【却】【怎】【么】【都】【没】【想】【到】【会】【是】【向】【暖】！ 【一】【时】【间】，【哑】【然】【无】【声】。
【很】【快】【哈】【士】【奇】【他】【们】【也】【到】【了】。 【哈】【士】【奇】【兴】【冲】【冲】【的】【溜】【着】【自】【己】【的】【鹰】：“【瑶】【瑶】【姐】，【你】【看】，【我】【的】【鹰】【可】【以】【带】【我】【飞】【了】。” 【姚】【月】【怀】【着】【惊】【喜】【转】【头】【一】【看】，【哎】【呦】！【这】【飞】【的】【真】【高】！ 【小】【鹰】【吭】【哧】【吭】【哧】【的】【煽】【动】【者】【翅】【膀】【也】【只】【把】【他】【提】【起】【来】……20【公】【分】！ ……… “【你】【别】【把】【你】【的】【鹰】【累】【着】！”【姚】【月】【说】【着】【放】【出】【自】【己】【的】【小】【豹】【子】。 【小】【豹】【子】【冒】【着】【鼻】【涕】【泡】
【这】【天】【晚】【上】，【段】【云】【喝】【了】【不】【少】【酒】，【心】【情】【却】【格】【外】【的】【舒】【畅】。 【完】【成】【了】【这】【次】【支】【援】【兄】【弟】【单】【位】【的】【任】【务】，【段】【云】【不】【光】【赢】【得】【了】【局】【长】【瑞】【阳】【的】【信】【任】，【而】【且】【还】【和】【省】【局】，【部】【里】【的】【几】【个】【领】【导】【混】【了】【个】【脸】【熟】。 【而】【段】【云】【现】【在】【最】【为】【高】【兴】【的】【是】，【他】【终】【于】【可】【以】【回】【家】【了】。 【自】【从】【元】【旦】【放】【假】【结】【束】【后】，【段】【云】【就】【接】【到】【通】【知】【来】【汽】【车】【厂】【帮】【忙】，【如】【今】【已】【经】【整】【整】【过】【了】【一】【个】【月】【的】【时】【间】