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Ireland - Land Of Majesty - Part Four - The Green, Green Grass Of Home
Ireland - Land Of Majesty - Part One - Land Of Saints And Scholars
Ireland - Land Of Majesty - Part Three - Landmarks In Time
Ireland - Land Of Majesty - Part Two - John Bull's Other Island
Ireland's Favourite Songs
Iris
Iris (Rental)
Iris (Sell Through)
Irish Christmas
Irish Christmas (Various Artists)
Irish Karaoke Classics
Irish Legends For Children
Irish Legends For Children / Great Irish Legends For Children (Animated)
Irish Myths And Legends
Irish R.M., The - Series 2
Irish R.M., The - Series 3
Irish Tenors
Irish Verse To Landscape
Irma La Douce
Irma La Douce (Wide Screen)
Irma Vep
Iron Eagle (Wide Screen)
Iron Giant, The
Iron Horse, The (Silent)
Iron Maiden - Live At The Rainbow
Iron Maiden - Rock In Rio
Iron Maiden - Rock In Rio (Limited Edition) (Two Discs)
Iron Maiden - Rock In Rio (Two Discs)
Iron Maiden - The First Ten Years - The Videos
Iron Maiden - Visions Of The Beast (Two Discs)
Iron Maze
Iron Monkey
Iron Monkey (Wide Screen)
Iron Monkey 2
Iron Monkey Strikes Back
Iron Petticoat
Iron Swallow
Iron Will
Iron Will (Wide Screen)
Iron-Fisted Monk, The (Wide Screen) (Special Collector's Edition)
Ironside
Irresistible Sylvie
Irreversible
Irreversible (Subtitled) (Wide Screen)

Irreversible

Irreversible begins with the closing credits running backwards before the film begins (or ends) with Marcus (Vincent Cassell) and Pierre (Albert Dupontel) being escorted out of a gay s/m club by the cops, Marcus with his arm broken and Pierre in handcuffs. The "story" proceeds to unwind in a series of single-take scenes that unfold Memento-style, with each scene giving more context to what we have seen previously.

Each scenario depicts actions, dialogue, incident, behaviour and circumstance that the lead characters might have wished didn't happen, ranging from extreme violence through awkward social situations to mild embarrassment. The central character (and possible dreamer of this whole what-if story) emerges as Alex (Monica Bellucci), who suffers the worst in a very hard-to-watch rape sequence in an underpass. Semi-improvised, the scenes all have attack and power as themes, with later/earlier conversational sequences that suggest life isn't all sexual assaults in the dark, showing equal cinematic imagination with the horrors. Arguably, this is not a film most would subject themselves to twice, but it is something that stays in the mind for days after viewing, sparking far more ideas and emotions than most wallow-in-nastiness pictures. --Kim Newman

 
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