Irréversible
2003
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Gaspar Noé (Spanish: [gasˈpaɾ noˈe], French: [ɡaspaʁ nɔ.e]; born 27 December 1963) is an Argentine filmmaker based in Paris, France. He is the son of Argentine painter, writer, and intellectual Luis Felipe Noé. In the early 1990s, Noé co-founded the production company Les Cinémas de la Zone with his wife, Lucile Hadžihalilović.
- 1985–present
- Lucile Hadžihalilović
- 27 December 1963 (age 59), Buenos Aires, Argentina
Gaspar Noé is an Argentinian filmmaker and screenwriter who lives in France. He is the son of Luis Felipe Noé, an Argentinian artist. He directed I Stand Alone, Irréversible, Enter the Void, Love, Climax, Carne, Lux Æterna, Sodomites and Vortex. His films are known for having a sensory overload style, most notably in Enter the Void.
- January 1, 1
- 2 min
- Buenos Aires, Argentina
Gaspar Noé is an Argentinian filmmaker and screenwriter who lives in France. He is the son of Luis Felipe Noé, an Argentinian artist. He directed I Stand Alone, Irréversible, Enter the Void, Love, Climax, Carne, Lux Æterna, Sodomites and Vortex. His films are known for having a sensory overload style, most notably in Enter the Void.
- December 27, 1963
Gaspar Noé. Highest Rated: 94% Dario Argento Panico (2023) Lowest Rated: 17% Destricted (2006) Birthday: Dec 27, 1963. Birthplace: Buenos Aires, Argentina.
- December 27, 1963
Feb 28, 2019 · Speaking with RogerEbert.com recently, Noé talked about the history “Climax” adapts, the film's accidental allegories, how filmmakers always make movies of their time even when making a movie set in the past, and what kind of movie he might make if he ever decides to actually make a horror movie.
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Gaspar Noé (born December 27, 1963) is an Argentinian-born French filmmaker and the son of Argentine painter and intellectual Luis Felipe Noé. He graduated from Louis Lumière National College and is the visiting professor of film at the European Graduate School in Saas-Fee, Switzerland.
May 11, 2022 · Often deemed an incorrigible provocateur, Noé—a fierce atheist who rejects the possibility of the hereafter—fashioned his affliction into a cinematic piece practically suited for the COVID-19 era and which critics have hailed as his most emotionally straightforward work.
