Call if the movie love affair dispossessed of the happy ending. The romance remembered at point omega. A nightmare, where the smoke never clears, the dust never settles. It's a reckoning now known as Irreversible. Since it exploded onto cinema screens in 2002, Irreversible, Gasper Noe's pulverising and extremist vision, with its operatic and total assault on the senses, has been recognised as a pioneering and relentless modern take on the journey from heaven to hell, delivered, however, as the ultimate form of supremely sustained reversal. Noe lays down the gauntlet. As opening sequences go, 'the poet of apocalyptic shock' offers a foreboding entrance into a hazardous world where monsters lurk and each of its characters has long been escorted down a path to their own doom, into a disorientating netherworld the camera plunges and with it Vincent Cassel. Beyond reasoning, his frenzied pursuit of a figure by the name Le Tenia, the incubus whose shadow darkens the unfolding nightmare from which the film takes its title and unyielding atmosphere, is akin to abseiling down into the pits of hell. 

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