All And Nothing
Why link an arty exploitation picture about rape, murder, and revenge with a sober adaptation of Rolf Hochhuth’s The Deputy, a 1960s German play about the failure of the Vatican to save Jewish lives during the Holocaust? One reason is to point out a critical difference between them. In Irreversible Gaspar Noe elects to show us everything—two faces being smashed to bloody messes, the heroine being raped and beaten for an agonizing ten minutes—while in Amen....