I assume that chronological cut is probably cutting out all of the swirling camera stuff linking between the backwards-proceeding scenes (but of course the virtuoso camera swirling should be the film's raison d'être!), but at the same time I am not sure that re-ordering the film in the style of that feature on Christopher Nolan's Memento would really end up doing that much to the narrative. Despite being told backwards (and being the only Gaspar Noé film where it is entirely appropriate to have the end credits at the beginning, unlike the films which followed!
), its really a fulcrum-point film, spinning on its axis around the central tunnel sequence the way that the camera itself spins off into the cosmos and another spiral galaxy at the end.
I do rather prefer the original French title for the "Straight Cut" though: the "Inversion Intégrale"!
That actually reminds me of a point that I did not really fully make earlier in the thread when talking about the lack of a Bangalter score causing something like Enter The Void to become even baggier with only the ethereal drones to tame it, but one of the bigger 'issues' (though its Noé's characteristic stylistic trait) also relates to the camerawork that began with Irreversible (Seul Contre Tous in contrast is, as far as I remember, all locked off shots with sudden camera moves and cuts in between punctuated by a bang similar to the music cue in Godard's Masculin Feminin!) and really reaches its apex with Enter The Void. Where the sheer logistics of getting the camera out of one scene and into the next without any obvious cuts (eventually zooming back and forth across the city in Enter The Void) takes up the bulk of the running time of the film and ends up providing a lot more of the 'thrills' than the actual narrative itself in some ways. Its kind of a form of 'traversal cinema' more than anything else.
That's what makes the moments when camerawork gets arrested by the narrative so powerful in Noé's films, with the central assault sequence in Irreversible probably the most (in)famous example, where the camera itself suddenly gets pinned down in sympathy too, unable to do anything but observe the unfolding scene.
I like the extras but I would be curious whether the publicity materials section would have the music videos that took place in the film's locations in which the camera gets
even more unleashed to prowl the environments. The one for
Stress especially, but there's also one for
Outrage too.