Although film noir is normally considered to be a movement developing from the early 1940s until the late 1950s, it can be also regarded as a sort of strategy or simply stylization embracing much more than just precisely defined period. To illustrate that thesis the author describes and analyses Gaspar Noé’s Irreversible with its crucial features: sexuality, brutality and filth. References to the Lacanian psycho analysis demonstrate that Noé not only breaks with traditional illusory picture of sexual matters but also, more importantly, intentionally focuses on its hidden as well as hideous aspects. Particular stress had been laid on audience’s impressions while watching the film. One is forced to conclude that in spite of all, Irreversible evokes certain amount of traumatic pleasure. Film industry produces clear sexual phantasms which are based on ideological patterns. To undermine such false outlooks on human nature, Noé makes use of noir’s ideological potential. Therefore, brutal sexuality and widely criticized violence becomes an effective way to transgress that oppressive order.