After what would normally be the end credits (which run backwards), Irréversible begins with a heated hunt through a gay S&M club. It is a chaotic sequence shot from a wildly spiralling camera seamlessly edited together to appear as one single shot and culminating in one of the most violent murders ever portrayed on celluloid. Following this crescendo, Gaspar Noe's film uses a reverse narrative structure similar to Christopher Nolan's Memento through which the audience learns the motivations for the murder and the relationships of three parties directly involved, the beautiful Alex and two men who adore her. The frenzied style of the opening gives way to increasingly static camera work throughout leading to an idyllic final shot of Alex, who the audience has long known is a doomed woman, set to Beethoven and alive with colour and youthful innocence otherwise absent from this bleak urban nightmare. The film disregards conventional editing by ending each scene with a dizzying camera whirl and presenting each scene as a single take (although there are seamless cuts throughout). "A genuine outlaw work of art." Stephen Hunter, Washington Post