In this video, Gaspar Noé's Irreversible Damage, the author presents Irreversible not as a simple shock film, but as a work designed to produce a lasting, almost traumatic impact on the viewer. According to him, Gaspar Noé doesn't just seek to represent violence: he makes the viewer experience it, even physically.

One of the video's central arguments rests on the film's inverted narrative structure. By telling the story in reverse, Gaspar Noé deprives the viewer of any possibility of catharsis. The revenge, shown from the outset, loses its meaning when its causes are revealed after the fact. This technique transforms the film into an implacable demonstration of a simple principle: time destroys everything, and nothing can be repaired.

The author also emphasizes the crucial role of sensory mise-en-scène. The dizzying camera movements, the incessant rotations, the unstable shots, and the oppressive soundtrack are not merely stylistic devices. They aim to physically disorient the viewer, to provoke unease, nausea, and fatigue. Violence then becomes an experience endured, not a spectacle that can be controlled.

The video dwells at length on the tunnel scene, often reducing it to its duration or its unbearable nature. The author emphasizes that its horror stems as much from the passivity imposed on the viewer as from what is shown. The lack of editing, the forced immobility of the gaze, and the sheer length of the video prevent any moral or emotional distance.

Finally, it raises a central ethical question: how far can a filmmaker go to convey a message? While Irreversible denounces the violence and irreversibility of trauma, it does so by inflicting a comparable shock itself. The video doesn't take a stance between formal genius and an abuse of artistic power, but rather asserts that Gaspar Noé transforms cinema into an ordeal, from which the viewer does not emerge unscathed.

For the author, Irreversible is therefore not just a film to see, but an experience that marks, disturbs and leaves traces — an “irreversible damage” inflicted by form as much as by content.