After arousing anger with "Carn" (1991) and before shocking the world with "Irreversible" (2002), the Argentine genius returns to the depths of France to profane it in "Seul Contre Tous" (1998). In his debut feature film, Gaspar Noé continues in the footsteps of the most depraved Parisian Butcher.
Following the events of "Carne," we are thrust into the life of Philippe Nahon's character, now living outside of Paris, in his mother-in-law's apartment, and awaiting a child with the owner of the bar near his former butcher shop, the persona already introduced in the preamble of 1991. Fueled by hatred for his current wife and the hope of reuniting with his beloved daughter, he takes a job as a night watchman at a nursing home to save money to return to the City of Lights.
After beating his wife and possibly causing her to miscarry their child, he steals his deceased father-in-law's pistol and hits the road hitchhiking towards the capital. Upon arrival, he goes to the most "half-star" hotel in Paris, an old acquaintance, and requests the same room where years ago he conceived his daughter. He wanders the streets between sips of alcohol and job hunting, all the while spreading social slander and introducing us to his world, his thought-form.
Seul Contre Tous (1998), dirigido por Gaspar Noé.
At the end of the day, when he lies down in the same bed from years ago, he thinks of Cynthia, his teenage daughter who lives in an orphanage. His love for her is obsessive. He seeks help from old acquaintances but finds offers that he considers insignificant. With each step he takes, nihilism continues to dominate his being.
Seul Contre Tous (1998), dirigido por Gaspar Noé.
When all his hopes of rebuilding his life in his hometown are dashed, he decides to go after Cynthia. Right at the beginning of this new storyline, a title appears on the screen, giving the viewer the opportunity to abort the experience.
Seul Contre Tous (1998), dirigido por Gaspar Noé.
After the simple warning, the film's climax is built inside a new hotel room, this one more beautiful than the last. While Cynthia occupies the window wall of the room, our ordinary, along with his pistol, occupies the opposite wall, the one that houses the wardrobe. By looking at his daughter over his shoulder, he builds an illusion of corrupted love, incest, feminicide and suicide. Upon returning, we realized that everything was beyond the Butcher's dirty imagination. It is in the following moments that our companion outlines his only feeling other than anger, disgust and hatred. He cries profusely like a child, he vocalizes and begs for his daughter's love, he struggles with his darkest fantasies. As the camera travels out of the room and onto the street, we come into contact with our hero's last thoughts, in a monologue full of absurdities and morbid love. The film ends.
Seul Contre Tous (1998), dirigido por Gaspar Noé.
Gaspar Noé's first feature film brilliantly encapsulates the essence of what would become the New French Extremity in the years to come. It's a political horror that delves into the darkest aspects of human nature. It presents a gritty and visceral reality that reflects the underbelly of society. The sick "masculinism," social abandonment, unemployment, and other major ills of capitalism are portrayed here in a magnificent manner. In this film, Philippe Nahon doesn't play a specific character; he embodies a slice of society. The lack of a given name for his character underscores this point. His persona is overshadowed by his social function, one he struggles to fulfill. Our friend is nobody more than that, and that's precisely what capitalism desires. In the end, "Seul Contre Tous" largely shows us a reality that knocks on our door every day, but one we often prefer to ignore.
I've always loved Brazil for its people and hospitality. I'm not sure how you managed to reach out to me from such a distant place, but I believe Latin America is determined. In between the various scripts I've been working on, I took a moment to read the text as you requested. Thank you for calling me a genius; usually, people call me crazy or incorrect. I'd also like to thank Murilo? (I'm bad with names) for remembering my first feature film and for the sensitive, critical, and fierce perspective. I hope your collective continues to grow and thrive. I'll get back to my script now. With Love and Climax, Gaspar.