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Ultimately his 3D ejaculation scene became the most talked about scene at the festival.

A Cannes regular, the Argentina-born French director loves to shock, though in the past he had dealt more with violence.

Cannes topper Thierry Frémaux had naturally been keen to program the film after the festival’s 2013 explicit lesbian drama, Blue is the Warmest Colour, had been a last-minute sensation, coming out of nowhere to win the coveted Palme d’Or.

Noe had to spend 20-hour days poring over his naked images in order to have the film ready.

He’d made his name with 1998’s I Stand Alone about a disturbed butcher who had been abused by priests in his childhood, while his ensuing rape drama, Irreversible, must be one of the most confronting films ever made.

Interestingly, Love had been in the works long before Irreversible and Noé had wanted the then happily married couple, current Bond woman Monica Bellucci and Vincent Cassel, to star.

They had demurred on the explicit sex, yet violent French films (including their pairing in Jan Kounen’s ultra-violent thriller Dobermann) didn’t pose such a threat.

Noé would go on to make the less successful drug-drenched melo-drama, Enter The Void, all the while knowing it would be Love that would again capture the audience’s attention. Eventually realising that stars wouldn’t be up for it, he found Karl Glusman, an American actor from the Bronx, and managed to convince two French women Aomi Muyock and Klara Kristin to participate.

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