It starts with everybody on the screen screaming and crying, beseeching to stop this. "Man, it's starting to vibe, don't you think?" one stagehand says to another in the midst of this madness. And the thing immediately crosses your mind — yes, I feel it's vibing, moreover, it's vibrating in these colors, and through all the annoyance of that screeching sound and flashing screens on the background I can see the real beauty, and I somehow don't want this chaos to stop.
The plot is not the thing that you can trace in the movie. Actually, there is no plot in the classic sense. Understanding the thing how the film itself can talk to us through the visual part, surroundings and sound is more interesting here. It's due to Benoit Debie, Noé's regular cameraman, his mesmerizing and truly hypnotic work. He is the person who provided this movie with his unique feeling of darkness coming round and different textures that visually make the audience feel uncomfortable and suspenseful. Green walls with lots of little hollows in them create the feeling of trypophobia approaching, incommodious rooms which make us feel intruding into the intimate life of women on the stage. This effect appears also because of the stylish vision through the other camera, more like VHS, with its special bad quality image. Such a device works on the feeling of manhunting against the audience's will. This is what makes the feeling of very intimate bodily discomfort.
But there is the thing that only Benoit Debie can catch — pictures of women who literally look like Divinities in bloody lightning.