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Gaspar Noénote  (born December 27, 1963 in Buenos Aires) is an Argentine-French director based in France.

He's considered as an auteur, and he's famous for creating Euroshlock that is at once appalling for some of its subject matter, and mesmerizing with visually stunning feasts for the eyes.


Films he directed:


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Tropes that apply to Gaspar Noé include:

  • Amazing Technicolor World: Enter the Void (set in Japan), Love and Noé's music video work.
  • Call-Back: Each film starts with something distinctive from the previous one.
    • The plot of Carne is issued as a photo montage at the start of I Stand Alone.
    • Irreversible starts with a closing credits sequence that looks identical to that of I Stand Alone, but runs in reverse. The first scene presented in Irreversible is also an epilogue to I Stand Alone.
    • The grating noise (a song called "The End") and strobing text that closes Irreversible also opens Enter the Void.
    • Love opens with a scene where a man ejaculates, like in the final scene in Enter the Void. Extra plus is that Enter the Void ended in a Love Hotel filled with people having sex, which is pretty much all Love is about (a model of the Love Hotel from Enter the Void is seen in the bedroom at the beginning of the film.)
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    • Climax starts out with the Gary Numan's electronic cover of the first movement of Erik Satie's Gymnopedie, whereas Love ends with the acoustic cover of it. And the movie also has that flashy, font-style changing credit sequence from Enter the Void.
  • Crapsack World: Though never stated outright in-universe, each film gives its own sense of dread about the particular nastiness of the world it's set in.
  • Dizzy Cam/Everything's Better with Spinning: The camera tends to do this quite a bit.
  • Early Installment Weirdness: I Stand Alone is shot in a noticeably different style than the two films that showcase Noé's Signature Style (and made him famous, to boot.) Noé's sense of editing is left intact, however.
  • He Also Did: He shot the Contemptible Cover for Sky Ferreira's debut album Night Time, My Time.
  • Late-Arrival Spoiler: Irreversible contains this for I Stand Alone: The Butcher slept with his autistic daughter and went to jail for it.
  • Lighter and Softer: Love is a couple shades lighter than his previous work, but only for including a lot of warm colours and sexual intercourse.
  • Male Frontal Nudity: Brief scenes of a penis in Irreversible and Enter the Void.
  • The Oner: His works are known for lengthy shots, such as the rape scene in Irreversible and the conversation leading up to the drug bust in Enter the Void. His music videos are also oners:
    • SebastiAn's "Love in Motion" follows a teenage girl while she dances around her room
    • Animal Collective's "Applesauce" is a close-up of a silhouetted woman eating a juicy apple.
    • Nick Cave's "We No Who U R" is a shadowy figure walking through the woods at night.
  • Production Posse:
    • Noé enlisted Daft Punk member Thomas Bangalter to create the score for Irreversible, Enter the Void and Climax. As Bangalter was busy with TRON: Legacy when he was called for Enter the Void, he instead provided a giant library of ambient sounds and excerpts of industrial/electroacoustic/musique concrète compositions, all of which is present in the film.
    • Cinematographer Benoît Debie is responsible for the lushness of visuals seen in Irreversible and Enter the Void.
  • Signature Style: Title cards written in a distinctive font; strobing lights; strobing text; lengthy takes; dizzying camera angles and divisive subject matter. The closing credits also open his films.
    • Averted with his first film, which only contains the title cards; and Love, which kept the font but put all the text at the end.
  • Take That, Critics!: Noé cast himself as a highly visible masturbator inside the gay club The Rectum in Irreversible as a way of saying that he wasn't better than homosexuals, since he knew he'd get called out on it when the film premiered (which he was.)
  • Violence Is Disturbing: He is very fond of this—the violence featured in his movies is always graphic and revolting. Irreversible in particular features a brutal rape scene that goes on, uninterrupted, for nine minutes.


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