CLIMAX

John and Bethany discuss their introduction to Gaspar Noe's films, particularly "Climax." They talk about how they were first introduced to Noe's work and their impressions of "Climax." They also give a loose outline of the movie, describing the party scene, the spiked punch, and the downward spiral of events. They mention the twist at the end and discuss Gaspar Noe's calculated approach in creating shocking and absurd scenes. They praise the dancing in the movie and consider it one of the greatest dance movies of all time. Welcome back to Cherry Pitch Cinema Club. I am John. And I'm Bethany. And today we are discussing the iconic climax by Gaspard Noe or Gaspard Noe, whichever you prefer. But yeah, this is Bethany. How have you been? I've been good. How have you been? I'm good. Have you watched anything recently? Oh yeah. I think the most recent thing I watched was, how do you even say it? The Grungette. Worst decision of my life. Which we might review later on. Y'all keep your ears peeled. I just went through like this horrible letterbox rampage where I just like commented the most foul things on all this stuff. Like all the movies that I remember watching, the new ones that I've watched. I've just been like making the most out-of-pocket comments like if you like this movie, you're probably just like a white man. Or if you like this movie, you're probably, you know, just that kind of like rampage. But yeah, we gotta keep the girls in line over here. But anyways, okay, so regarding climax, how were you introduced to the movie? What was your first impressions? All that stuff. Okay, so I want to say that me and you, our introduction to it is probably relatively similar because I think we kind of like, we were introduced to it at kind of the same time. But I'll kind of talk a little bit about how I got introduced to Gaspar Noy in a lot of his films because I feel like, you know, as a young person who is under the age of 18, like my mind was impressed. Well, those movies are definitely very strong in their scenes and I was just like rotting in my bed watching them. But um, I remember I was living in California at the time and I think it was when Love was on Netflix, like way back when, like it had a Netflix debut for like, literally a couple of seconds. Literally, like a couple of seconds and then they took it off. Which we will probably like, talk a little bit more about Love and like down the road. But Love is a movie that's also by Gaspar Noy and so I watched that movie and I think I was just really like in awe of, there was such a specific vibe that he creates when making movies that it's like they're all different but yet they're all very similar. He like puts a spell on them or something, it's very interesting. And so I had watched Love and I really loved it and of course then if you're anything like me then you go and research everything about the director and other movies that they've made. So then I went kind of down the rabbit hole of, you know, his movies and watching interviews with him and stuff like that. And then I saw that he had, either he was just about to come out with Clormax or he had, it had just been released, like something like that. I remember, because that's when me and you were doing, we were like, yeah, thing going on where we had like watched movies together over FaceTime. And I remember it was like, I think we both agreed that we'd want to see, like we wanted to see it and we were like, oh, we should watch it. So I don't know where, but we rented it on something and I remember watching it and getting introduced to it that way. And I just remember really liking it. There's definitely a little bit of a twist and turn at the end, but just like all of Gaspar Noe's movies, there's like this really underlying dark theme to it. But I'm gonna let you tell us how you kind of got introduced to it because I've been rambling. I know we love that. Yeah, we both watched it over either, we like bought it on YouTube or something like that. But I know we watched Enter the Void the same way. And the, so yeah, we had started off with love. I had obviously seen like talks about love. It was like, and that was 2015, right? I believe. Yeah, yeah. Um, so obviously, I like heard interviews with Miss Gaspar, just saying like, is it love or is it porn? Like that's up to the viewer, all that stuff. And so I was obviously intrigued. I was like, oh, this thing, like, we love. Literally love. No, literally love. And so then we watched Climax. And I remember the like, feeling halfway through. So the first part of the movie is just interviews, which we'll get to later. And then once it hits, and like the midway through, I was just like stunned. I couldn't imagine anyone, even convincing people to make this. And it's the same feeling I had with Jodorowsky's The Holy Mountain. Because it's just like, it's absurd, but it fits into the world. I wouldn't say Gaspar is an absurdist. But he definitely likes to like dangle toys over the viewer and kind of like, play with our like, not superstition, but that whatever he likes to make little puppets. Yeah, so that was pretty much my introduction. Obviously, I'd like loved all the posters, I'd loved the set design, the dancing, the music, which we'll also get to. But spinning off of that, what has the movie meant for you? Or, or you could go with like a loose outline of the movie, and then we can do whatever, whichever one you want to go with first. Okay, um, I guess I'll start with the loose outline. And like I said last time, this will be loose, this will literally be like, no, literally, this will be the most busted outline. But basically, from what I remember is, there is this group of dancers, somewhere in France that they were like Snowdin or something, weren't they? It's like this building. It gave me like school, like a school building vibe, which I think, I don't know if it was or wasn't. Yeah, they were having a rehearsal, like one of the last dance rehearsals. Yeah, yeah, yeah. They had this like building, this large building. And then they were like in kind of like this gym cafeteria area for the majority of the movie. But basically, this, these group of dancers were having like their last rehearsal in this building that, you know, the movie kind of implies that this building is kind of out in the middle of like, nowhere, like, not like nowhere, nowhere, but there are implications that like kind of went out to get away and like do the rehearsals or whatever. Anyways, they're having a party for like, I guess they were wrapping up with whatever it was that they were doing. And so it starts off kind of with this party and everybody's having like a good time or whatever. And they're dancing and the music is so iconic, like the music. It was like made for that movie. Like even though the main song wasn't, it was made for that movie ahead of time. And it really sets this mood of like this fast paced, like anxiety filled, like everybody's kind of ignoring their anxieties to like party and stuff like that. And then there's this punch that everybody has like a sangria type situation. And basically these people get, the punch gets spiked with something or laced with something. And so everybody here kind of like, it's just kind of more and then from there on, it's just kind of like the downward spiral of all this stuff. And it gets more violent and it gets darker and it gets more gruesome as it goes on. And then at the end, we find out who spikes the punch, which was a very, which was a character that no, none of us really thought would have done it. I was like, oh, what's going on? So that's my loose outline. You're welcome to add to it if you want. Yeah. So it was, I was reading somewhere, somewhere, meaning like Wikipedia, but still, that it was like loosely based off a true story about like this dance troupe that was like, spiked with LSD. And obviously like nobody was like getting kicked in the stomach or whatever, but that's just like no way being like a freak. But so it was like interesting that, but yeah, they are doing their like last rehearsal for the season or whatever. And they're just like partying and one of the ladies has like a kid and that's like a whole messy scene. And yeah, are we going to talk about who spikes? I mean, yeah, I mean, I don't really care either way. It's just like, yeah, I mean, they know what they're getting themselves into when they listen to this. So it's like, yeah, you can go ahead. So it's like the German queen. And it was interesting, like looking back, and there was little like Easter eggs that Gaspar, like, she had like a book on LSD, like in her bag. They're talking about like how she needed to like leave Germany because there's like too many drugs or something. So I think that I think Gaspar is so funny, because he really does care about these people. And he cares about the plot. But when you're watching it, you don't think anything is considered because of how like absurd it is. And I think he's so smart in that like red herring where he, he just like he knows what he's doing. He's writing it, but he knows the human condition. And he knows all of us are watching it in like horror. And like, I mean, they're terrible acts. But we think that it's like just reckless, like he's just watching all these people like go crazy, which we are but but he's very calculated in who he's showing at what moments when the power goes out midway through three, four, and then it just goes to red strobing lights. And it's like, the cameras upside down, the contortionists are like breaking their bones and like, liking it. And it's like this whole, yeah, it's like the descent into hell from this dance group, which is just so iconic. And like, if anyone of y'all are dancers, and well, maybe I shouldn't because this would scare you. But it's definitely one of the greatest dance movies of all time. Is that bad to say? I mean, well, I'm about to say something. Anyways, whatever. I feel like every other dance movie I've seen dance movies to me are kind of boring. I'm the same with musicals, right? I am not a dance movie or musical kind of girl like never happened never will be I think they're boring. I also think that this is this just kind of goes back into his like, his geniusness, I guess, because taking something like dancing, making it the scene, but making it not be like, this is a dance movie. It's a movie that is like strongly narrated by a bunch of dancers. It's just the way he does it makes it a lot more appetizing than like a typical dance movie would. Like, you know, I like you get all into why I don't like dance or musicals, right? We'll save that for another time. But I think people a lot of the times they like criticize him for being kind of like grotesque or being like, too much, especially with like, irreversible and stuff like that. You know, it was like, there's a lot of criticism. But also, like, he's, he's not stupid. Like he's thinking everything through. And that goes back into the whole like, that's why I enjoy his movie so much is because I know everything is there for a reason. And I don't have to waste my time wondering if things were there accidentally, or if they're even supposed to be like picked up on by the viewer. Yeah, right. When I think that's like the mad genius of him is that he knows our human mind so well that he can throw these thoughts out that feel so farfetched or like with love. He knows that everyone's gonna just think it's like straight up porn. But in that message, there's so much messaging of toxic masculinity. What is like threesomes? What all of that stuff? What is love? Like, what is our contemporary version of that? And do we like that? Or do we want to be challenged by it? And all that stuff? So the aesthetics of the film, what is the first like, when you were watching it? What was the first thing? Was it the dance? Was it the music? Was it the costumes? Was it the acting? Like, what was the first? The first thing that definitely came to my mind was the music and the dancing, and the color palette as well. Because everything, because this is in like a building, for some reason, like no windows, it kind of feels like the entire time there is nighttime. And so I think when I think of Climax, I think of like the color red, I think of yellow, I think of orange. And I also think of the music like that. Once I heard that song, it was like, literally it seared into like the right side of my brain. Like that song is Climax. Like that is, they were so made for each other. Like, you cannot convince me that song was made like literally 40 years before the movie. It definitely the aesthetics of the movie. I think a lot of times when you think of like acid or LSD, or, you know, like tripping or anything like that. Um, I always think of warmer colors anyways. I think for me, like, that's just kind of the aesthetic of like being on a trip is like this warm kind of color palette or whatever. And I also think that red was a really important like, like color for the movie as well. Because red can sometimes be seen as the color of passion, the color of anger, the color of the you know, all this stuff. And that definitely ties into the aesthetic of the movie. A lot of the key characteristics that I was picking up on, like aesthetics wise, is it creates this secluded environment. It's isolating, but they're all together. It's warm. It's kind of crazy. It's a little bit hazy. Everybody's partying. And then just think about kind of the aesthetics from like an acid trip or any sort of psychedelic trip. And kind of think about the aesthetics from that. It's not so in your face because it's not like you watch the movie and there's like mushrooms like on the wall. It's like a very realistic depiction of how the human brain. I think it's interesting that a lot of people get repulsed by the movies because if this movie seems appetizing for people and they want to go to this like secluded like school and do dance, drink sangria, then like how about it? But there has to be underlying issues with you. Like it looks like welcoming. Obviously. Yeah. And I think the aesthetics, I mean, in the interview portion, I'm obsessed with how the compositions are with like the backgrounds and the characters are obviously like have their own aesthetics that kind of create like a main character's aesthetic. And you don't really know who is bad. You don't really know the plot of the movie. And there isn't really a plot of the movie. There's like a little bit of murder mystery. Yeah. And that's why I've loved his movies is because there really is like no major plot. Because something that I get really tired of is whatever you call that typical structure of movies or like the rise of the hero or whatever. Yeah. Whatever's obvious is like the bore. Like no. Literally cancel it. Because like, are you seriously telling me that us as like humans can watch the same typical like rise and fall as a hero or like fall and rise or whatever. And like the same outcomes for everything. Same as rom-coms. You will not catch me dead in my boots watching a rom-com. Like listen. For me, that's what I really appreciated about Gaspard Noe's films is that they are in no way following the typical structure as like you think a typical movie would whatsoever. It is literally following the own structure that he has. And I think that's something that me and you have discussed a lot when we've talked about making our own movies is that the point is to feel the vibe or get out. And if you don't appreciate it for what it is, then just leave. Like it's like going to the museum and trying to force yourself to care or like read all the plaques of this stuff. Y'all will never catch us like feeling guilty for not liking a rom-com or like trying to force ourselves to watch like some like MCU movie. Like that's not for us. It wasn't made for us. So like, and so we're not expecting anyone else to sit down and try to like be gassed for like three hours. Like if you like the movie, you love the movie. Like cool. But if you don't like the movie, we don't care. Yeah. No. And that's my thing. Also, it takes me like five minutes to get through museum anyways, because like, is the plaques like, if we're being realistic here, do you really think that the majority of people actually care about all of that? Like, these like a long ass plaques of just like, well, when so-and-so was born and like the like, you know, but I think another thing is the movies that really transports you into a world and it really shakes up your way of thinking and shakes up your way of thinking about movies. For me, those are the most enriching sort of movie experiences that you can have. Because like, I feel like the more MCU movies you watch, the more your brain is like slowly rotting away. And it's like, if you think about it, what are they doing to question anything? Like, right. Um, but yeah, when that's what like, and a lot of the MCU movies, they like funded by the US military. Have that where you go. But like, it's propaganda. Like, MCU is propaganda. And like, if you don't like that, like, I'm sorry to break the truth. Yeah. I mean, it is though, because it's like, guys, can we, I, okay, so there will be a designated episode of Just Why We Hate and whatever that other one is. But I definitely think that what, like, the main thing that I really enjoyed about Gaspar's films is just the way that it kind of makes you rethink the way that you think of like movies and the way that you think of a typical structure. But I think if you are trying to dive into watching his movies, anyways, you will already be kind of aware of that, like, you'll be aware of like, okay, well, I'm always like, I feel like if you're attracted, or you're have an interest in watching his movies, then you will already be aware of the fact that you don't like the basic structure. But also, if you do like the basic structure, then I would urge you to watch all of his movies, especially Climax, just because it really is like it itches your brain in a way that I think is really important, right? For a lot of especially young artists, and, you know, the film buffs of, I guess, this generation or whatever. Yeah, I think if you want to talk about the tearing down of the three act structure, Gas Wires, the greatest entry point, because he'll have movies literally in reverse, he'll have movies like Love is like, is that his longest one? It's like literally two and a half hours of just like three people, like three hot people. I think the longest one is Enter the Void. That one's like two hours and 56 minutes or something like that. Yeah, Enter the Void, which Enter the Void is so non-chronological or non-linear, as the academics say. And it's like going, it literally gives you whiplash. It's like going forth, back, like whatever. And we will talk about that one later, later, later. We'll get to all of them, guys. Don't worry. Don't worry. Y'all don't sweat it. No, don't sweat it. They're so annoyed. No, they're so annoyed. Okay, so the clothing and the characters, we kind of already like talked about that, but I'm obsessed also because you don't, there is no good person in this movie. Obviously there's like kind of an antagonist and kind of a protagonist, but like there's not really, I mean, I don't, I mean, I guess there is only by like the other people not doing anything bad, but it's just like an interesting moral tale. Yeah. Well, yeah, which I think is also refreshing because once again, it's kind of getting rid of that typical structure. You know, the movie doesn't really have like a super happy ending or anything like that, which again is something that like, if I watch a movie and it ends with the way in your mind, you don't want it to end, then therefore it's classified as good. Like, you know, that's just immediate good movies. Right, immediately. And I would say if anyone of y'all is like pregnant, just like maybe not watch this movie, but that's all, we'll take out that one. No, don't worry. We'll let you figure that one out. For real. The impact of this movie has had on our art. Jasper. Jasper's work really exists. In my peripheral, like I like, I think about it a lot, but I don't access his work. Like with Wes Anderson, like I can easily access his like color palette or his like structuring of a jacket or something. But Jasper really is like in his bravery, but I don't know. Okay. Wait, what are your thoughts? Do you find that you're more attached to like red or using color and motion, which like he loves to do? Yeah. I mean, I, so if you take a look at my work, it doesn't, it doesn't have any obvious direct like influence. Like it doesn't look quite good. Cause my work is very like specific in what it looks like, but definitely doesn't look anything like any of Jasper's movies. But I will say this, you know, before I started, um, you know, like being an artist and going to art school and taking things seriously and, you know, trying to do things full time, I was like consuming his movies, like so much, like watch and watch and watch and rewatch. And I think we talked about this a little bit in the last episode, but mainly because I think your subconscious or the things that you consume that kind of sit in the back of your brain that you may not be thinking about every day. Those probably have more of an influence on the way that you see and make art than the ones that are at the very top of like, Oh, I'm super influenced by this. Um, I definitely, when I want to feel influenced, just artistically, or if I want to feel like my brain is like getting literally itched or something, I don't know if that makes sense. I will watch a Gaspar movie and it really will inspire me. It really, it really will. Like I always sit there and I'm always like in awe of what I just watched because I'm like, it was such an experience. And I definitely like, without a doubt, he's done so much like LSD and shrooms. He is probably absolutely like churning the brain to mush. But I will say this, I thank him for that because he's making really good movies. Like a lot of the movies, like Enter the Void just seems like a big, massive trip. Like it really is. And then Climax, I mean, the movie is based about a sangria getting spiked with LSD, which how much LSD would that queen have to have to make everybody have such a horrible, like it would have to have been like so much because there's no way that like she just threw a tab in there and just like, you know, everybody was just like, you know, like it would have like she had to put like several of her like eyedropper bottles in there to make everybody have such a massive trip that like they were spiked. So that's just something that I was like, I mean, we could try it. Should we try it? Okay, we'll come back with the review next time. No, literally we have to actually experience it. Literally, but I do think watching any of his movies like tripping would would be a horrible experience. I genuinely think that it would be so scary to like he bases, especially a reversible climax and Enter the Void. Those definitely seem like he's drawn inspiration from like, what was like the like, I imagine he's like, when he's coming up with these things, he's like, Okay, well, like, what's the worst trip I've ever had? And then let me make a movie about it. And then he like, makes it. So my art isn't really like, acidual art. It's not like... I'm so annoyed. It's literally that. It's like the furthest thing from that. It's like, so, um, in terms of like aesthetics, I always find his work very, very, very scary. And like, inspiring. I think I'm more inspired by his way of thinking and his way of making than the actual thing. I guess. Yeah. What about you? I say, I think the bravery of him is what inspires me and like the ability. He's so brave. He really is. Bravest soldiers. I think like him convincing people to play and most of the people in this movie are literally just dancers. Like one of them is an actor, I believe. But they did good. No, they really did good. No boots on. Boots on the ground. But so I think like, his bravery is really what inspires me. I think his ability to take like such a simple plot, like for love, it's like literally, they just like invited their neighbor over. And then it's like a two and a half hour. And it's just like that concept. Enter the Void is just like a brother, sister, little moment. Well, not like that way, but you know what I'm saying? And then, what's that other one? Oh, Irreversible is just like, well, we'll talk about that one later if we don't. But anyways, I think it's just like how to magnify such a simple plot and then convince these people and convince the viewer that it's important enough to care. And I think that's what's interesting about like the different plots that he uses. He uses a lot of like pregnancy in his plots, like Love, Enter the Void. And then obviously, this one has one of those scenes. And he knows in his back pocket, he knows all the symbolism and the different references that will kind of get the viewer like, squeamish a little bit. And then he like uses them when he wants certain reactions, which we love an artist that knows like the tricks of the trade and just like jump cut. Um, and then what, we kind of already answered this, but what does the movie mean to us? And what is its legacy for us? And all that stuff. So I'm just such a gasper to know I stand that like, I just think it's really, it has like, not sentimental is the wrong word. But like, his movies are kind of nostalgic for me, because I did watch them a while ago. And when I was like, 17, or whatever. And so it kind of reminds me of that point in my life when I was like, first kind of getting into films a lot more. Kind of like we talked about, like, with the last episode, and the dreamers and all that, that was like the entryway. And then the dreamers kind of slowly progressed into stuff like Gas for Knowing and stuff like that. But for me, those are just movies that like, I genuinely like all of them, even the ones that are like, nobody's really seen, like, the weird ones. The one was like, Yeah, like, that old guy and stuff like that. Yeah. Yeah. Yeah. That's beautiful. Yeah. Sweet. Gaspar. Watch that. If you want like, it's like, they're all good. Like, and they all universal. And for me, it's like, for me, they will be movies that like, I love having in my collection. Like, I'm the sort of person that I love having, you know, like physical DVDs and stuff like that. And you know, I imagine myself being this, this old person and like, having a movie collection and like somebody being able to come through and see it and it's like, what the hell are literally all of these like, you know, like that, like that. And then I think like, especially as an artist, because we're coming at this from an artist perspective, that it's good to fill your mind with not only things that make you rot inside, but also things that kind of stir the pot a little bit, you know, like, it's more just like critical thinking skills, like it is provoking your mind is making you use that your critical, like, you know, mega mind type energy. So for the for the movies, like the aspects that I really enjoy about them is the fact that they're nostalgic for me. They're they itch my brain, like they stir the pot, like all of that stuff. And I just think what like also the cinematography is really good. Like, Enter the Void is such a beautiful movie. Like, In Love Too is such a beautiful movie. Like, there's so many aspects about the cinematography that I feel like you don't really like nobody really talks about the cinematography in either of those movies. Yeah, I feel that. Wait, what was the question again? Sorry. It's like, what do they mean to you? You're the one that asked it. Get out of here. Basically, what it means for you, like the legacy. Okay, yeah. I think what the movie means, or Gaspar in general, really means to me is this, like total freedom, but also total control of the world. And I would say, like, personally, none of his movies are a skip for me. I would never skip on a movie. Like if somebody put Vortex on, I'd watch it. If somebody put Love on, I'd watch it. The attention to details, the attention to the human mind, the psyche, the bravery, but also like the traditional compositions. Like he's easily one of the greatest directors living. No, I mean, every single one. Okay, top five easy for me. Only because he has really well rounded his concepts and his approach to filmmaking that not a lot of the other girls have even like started to understand what the hell they're trying to say. And he definitely knows exactly what he wants to say. So with that, should we give the listeners some artists slash movies that are similar to Climax by Gaspar Noé? How are we going to break it down? I'll do more of the artists and then Bethany will do more of the movies. And so for me, well, first I have a book. It is Selects by Dennis Cooper. It's like an extremity book from the early 2000s. But it just follows this guy and he's like a digital escort. Anyways, there's not too much of like a similar reference because obviously, the plots are very different, but the feeling that I got from both of them, they're like complete anxiety and all that stuff. And then there's a painter, American painter, Monica Majoli, M-A-J-O-L-I. And she is kind of like a BDSM artist. And a lot of her work is that kind of bondage aesthetic that I kind of associate with Gaspar, even though he doesn't really touch that realm of art. I do think it's very interesting. Dan Flavin, who's a light, or Flavin, whatever, is a light artist and an installation artist and kind of reminds me of that aesthetic. And then Salmentor. Salmentor is a painter and some of the scenes, kind of like the multiple figure compositions and the lighting and the mood and the aesthetics, just that multi, multiple figure compositions are kind of what are inspiring me. But what do I do? So are we ready to talk about some more movies? These won't be as busted as the last ones, because first of all, there is no movie like The Dreamers. It's standalone, you know, so those were difficult to grasp. But so also keep in mind that these will be kind of like loose references, just movies that kind of pop into my mind, that when I think of the vibe, I think of these movies. So take it with a grain of salt. A lot of these movies will be French, but the first one I kind of want to talk about is Raw, which came out in 2016. So some of the girls might have been able to see it. And it really is just more about when it's French, to it's about that descent into chaos, kind of that absurdity, that like putting everything in a realistic setting and then having an absurd thing like cannibalism or like some disease or whatever, like genetic thing that you have that makes you a cannibal, like that's absurd. Like it's in such a real, like reality, like grounded environment, that is what makes it feel more unreal, which I think is some themes that Gaspar does a really good job about is a lot of the stuff feels so kind of hazy when it comes down to it, all of these places are real, and they're grounded in reality. And it's in some like crusty old building or in the countryside, you know, it's all of these things with these absurd ideas and regular places, which is another reason why I wanted to bring up Raw because I feel like it has a lot of really similar themes. And another one I also would suggest watching is actually, we've mentioned it probably like 50 times already, if you watch Climax, you should definitely watch Enter the Void. And if we do a review on Enter the Void, then I will tell you to watch Climax. Like, you know, Enter the Void is like kind of the aesthetics of Climax, but brighter and like 10 million times just more on steroids. Like it's such a movie to watch, just because it's so good. But it is kind of also about this like, it's not as distant into chaos as like Climax is, but it is definitely like a journey of some kind, and things do get a little more chaotic as things go on. Especially with like a little love hotel thingy that you see like the miniature, like whatever that is, like that movie, like you don't even have to do like acid to make your brain fried from like that movie, like it fries it for you, just everything about it. And that's just something that's like, I'm not recommending it just because it's off to buy Gas Bar, I'm just recommending it because I think of those movies similarly, like they seem a lot more similar in aesthetics than Climax and like Love You, you know, so it's like another one I would suggest if you like Climax is to watch Swallow as well. I think that one's a good one, I think that it is definitely dissent driven, and it also has some weird like, there's this weird absurdity to it, which I won't go too much into like that movie and what it means, because we might have to talk about it on another time. Yeah, we really should, but I would say those are, I think I've listed three, those are my three picks if you like Climax and go watch those. Like I said, I don't really watch a lot of dance movies, so like I cannot for the life of me recommend like another dance movie like that. But I also think you should really listen to the soundtrack if you are really into Climax and really just let it infiltrate your brain, your brain, like it literally, I think there was a time me and you were just driving around and we had it like full blast, and we were just like, it was, it was, it was momentous. And also like if you're listening to this podcast, you probably already know what, who Apex Twink is, but if you don't, like they are the embodiment of this movie, and also like, this is what the new Suspiria movie wanted to be, and I'll just like say that, like, but anyways, I mean I think also Clip, like a 2012 movie. Oh my gosh, yes. We'll be talking about it very soon. Very soon you are, but so just get ready for some rancid reviews. But we're not even going to review them, we're just literally going to talk about what we love. The other thing about this is, I know we mentioned them last time, but like do not come into this podcast thinking that we're going to, I think I said something to John on TikTok, it was like this absolute, like psychoanalyzing everything about like Shawshank Redemption, and I was like, um, and then we're like, the one movie that will like change your life radically, and it was like an edit of Shawshank Redemption, and I was like guys, I was like guys, it's like, I get it, um, but then again, I feel like those, those are movies coming from like a very certain kind of man, like, and I think another thing is, you know, the film industry is being overrun by all these like normie men, and that's why we have Captain America, like just think about the name for a second, like Captain America, like they, let's, let that sit, and just think about how ridiculous that sounds, but anyways, I'm going off, but do not come, and Superman, no, Superman, and Batman, like it's just, Batman, Superman, anyways, I was just going to say that, like, totally took a wrong turn, but, um, do not come into this thinking that we're going to give you some, like, super analyzation of, like, the characters, and how it radicalized my life, or John's life, or, you know, it's such a morally good movie, or how it's such a moving piece, like Shawshank Redemption, or any of that stuff, it's like, we will take apart what it is that we like, and then we won't talk about what we don't like, we won't, so it's like, this is a very, like, specific kind of, like, mood review podcast, it is here for the vibes, and here's for the vibes only, and if you're looking for some, like, deep dive into, like, the entire rise and fall of the characters and climax, then, yeah, just watch a documentary, or just watch the movie, yeah, watch the movie, or, like, watch a podcast that just has, like, a man doing it, like, you know, that's, that's just what I'll say, and I'll leave that, you know. I'll leave that, Simon. Um, yeah, no, we're just, like, literally talking about what we love, and, obviously, we, like, poke fun at MCU, because we're gonna, like, really upset some people, and we're gonna get on, like, the wrong side, and then people are just gonna be, like, major haters, but. I know, but if y'all are still listening, the major haters, just, like, like and comment, and comment the flower emoji. No, literally, ew. Um, we love y'all. Anyways, um, but, yes, that was Climax. Yes. Watch it if you love it. Don't spike the sangrias, and, yes, we still have social media rolling out, um, so stay tuned for that, and, yeah, any last words? Um, I don't know. I don't think so. I just think that, like I said last time, um, with any of the movies that we recommend, um, they, you might genuinely be wondering, one, these don't really count, because Gasparinoi is a lot more mainstream than some of the other movies that we'll talk about, um, the next couple of weeks, like, Clip, like, don't even get me started on that movie, but, um, just literally, like, do not question why we like it, because you will not convince us any other way, like, we like it because we like it, and if you don't like it, that's fine, but this podcast is definitely geared towards more of, like, hot takes on movies, and then findings, like, really, like, I hate using the word, like, random, because it sounds so, like, ew, you're so random, yeah, you know, so it's, like, just every single thing that was recommended, just understand that it's going to be a little busted, um, and, you know, I feel like we started off with some pretty, like, classic, basic, like, simple, not simple intro movies, but then when we start kind of gearing down the line of, like, you know, the lower budget, the, like, random Serbian movies, like, all that sort of stuff, no, okay, all right, guys, well, that was our podcast, that was our episode about, um, introductory to Gaspar Noé, and basically, he's king, and the reason we picked that one also is because it was on a lot of more major streaming platforms, and so I feel like more people have seen it, but get prepared for us to review some of the more, you know, less seen of Gaspar's movies, but we hope you liked listening, you know, we hope that you enjoyed us cherry picking apart literally every single detail of the movie, and we look forward to the next episode, but do you have anything else to say, John, before we close it? No, just God bless y'all. God bless America, literally that eagle sound, like, no, anyway, bye!