Community Showcase More. Follow TV Tropes. You need to login to do this. We are given characters and are exposed to their darkest moments, but are never given a real reason to care for them, or to perceive them as anything but wretched. We are also shown some sexually discomforting things that we never really wanted to see on the silver screen if you've seen it you probably know what I'm talking about.
Also, the film is almost completely in first-person viewpoint, so you're constantly feeling confined to what Oscar is looking at, which are mostly psychedelic images. In effect, the feel and tone of the story are immediately off-putting for the viewer, but since you've already bought a ticket, what can you do but follow it through?
This is definitely the kind of film that can be approached in the wrong way, both with the medium that you view it through, and with your state of mind.
Enter the Void is meant to be a transportive film i. To technically maximize the experience, the film should really be experienced on the big screen. I'd imagine an IMAX screen to be ideal.
I also think a film like Enter the Void really needs to be approached with a separate set of goals than that of a normal film. First of all, chuck any notions of entertainment, or even enjoyment, out the window. While you're at it, remove any notions of positivity that you can think of. The only reactions that Enter the Void will draw from you are negative ones. Personally, the only emotion I consistently felt was a slight nausea, tinted with the occasional horror, or perhaps a shameful arousal, as there is excessive sexual content that is all wretched in one way or another.
The film is shot with a certain frame of mind, and sticks to it with remarkable faith. It's in the point of view of a small group of friends who are confined to the drug and clubbing scenes in Tokyo. He then films them in the most abrasive ways possible, showering the viewer in infinite neon lights, and fish-eyed close-ups, and then Noe lets his frames linger on these unsightly images for uncomfortably long. Even with his tracking shots moving from one location to another, when the viewer is normally given a moments rest, he rapidly cuts across hallways, stairs, and streets, and never gives the viewer a free moment to settle down.
Despite the film's antagonistic feel, and despite the physical and psychological discomforts that the film drew from me, I still found Enter the Void to be a worthwhile and even inspirational experience. More to the point, Enter the Void may not be a friendly experience, but this exact kind of experimentation and determined expression are just what cinema needs in order to be taken seriously as an artistic medium, when so many other directors air on the side of caution and safety.
It might be a difficult ride, but just watch it once and you'll carry it with you forever. FAQ 1. The story itself was way too long for me and not very entertaining. The thing I liked was the way of filming, it's all very hypnotizing. Even though it was too long for me I still got sucked into the movie. HumanoidOfFlesh 15 January The Tibetian Book of the Dead is traditionally believed to be the work of the legendary Padma Sambhava in the 8th century A. The book acts as a guide for the dead during the state that intervenes death and the next rebirth.
He is considered to be one of the first persons to bring Buddhism to Tibet. The Bardo Thodol is a guide that is read aloud to the dead while they are in the state between death and reincarnation in order for them to recognize the nature of their mind and attain liberation from the cycle of rebirth. Oscar reads the book before he is killed and his soul wanders among his tragic childhood past and neon Tokyo present time.
The trippy and delirious camera-work is amazing as is hypnotic soundtrack. Another bleak and nihilistic assault from Gaspar Noe.
What Clint Eastwood might have done jdesando 28 November The French Enter the Void is acclaimed director Gaspar Noe's trip through the mind of a drug addict spinning around sexual excess and a dirty drug society to create a repulsive, radical, and un-relaxing movie experience that is nonetheless interesting.
American Oscar and his sister, Linda, are separated numerous times but always reconnect through his world of drug dealing and hers of professional sex. Noe spins his camera, makes us dizzy with repeated birds eye views, and has us flying through holes and time as if we were ourselves high. During this kaleidoscope of colliding images, he manages to take his hero to death and after, allowing us to accompany him as he attempts to protect sis.
The sex, even possibly incest, is incessant and the drugs ubiquitous, all led on by the specter of death and reincarnation. It's not my cup o' tea, but it is not dull.
It is rather what Clint Eastwood might have done with Hereafter if he had taken drugs. StevePulaski 15 February In fact, it does the opposite and persists on for over two and a half hours, and by the end of it, you're left exhausted, mentally fried, and as if you just experienced a crippling drug trip like the lead character in the film.
The film follows Oscar Nathaniel Brown , a young man who lives in Tokyo with his younger sister Linda Paz de la Huerta and makes ends meet by dealing drugs. We're flooded by the sounds and internalized thoughts that circulate through Oscar's head throughout the night, as he wastes away getting high and hallucinating as he roams the streets of Tokyo.
Oscar has also become fascinated with The Tibetan Book of the Dead, a Buddhist book of beliefs about the afterlife and reincarnation, thanks to his best friend Alex Cyril Roy. This book carries itself throughout the film, as Oscar, and the audience as a result, plunges deep into his psyche to uncover ideas, memories, and thoughts he never knew he had.
We see Oscar and his sister recount memories from their childhood, as well as how Oscar moved out to Tokyo and got involved in the drug dealing business at the expense of himself and his sister, whom he promised he'd protect his entire life.
Enter the Void, given how long it is, manages to be incredibly lucid and dreamlike for most of its runtime. The variety of angles and techniques employed to give us this kind of lucid, almost transient experience since the film is captured in something resembling a vignette-style, makes the entire experience feel like a dream with its replication of the randomness of the mind at rest.
If nothing else, it sure evokes the nonsense level of your average dream, as well. The inexplicable use of bright, neon colors and hallucinatory patterns that look as if they're tie-dye patterns and tessellations come to life.
Nonetheless, the meticulous craft pays off because Enter the Void is a mesmerizing work visually. In terms of its narrative, the film is predicated upon impressionistic standards of interpretation, meaning that you can subscribe to its story, its characters, and its imagery whatever you perceive as being fit with its content, save for maybe the core themes of the project, such as the barbaric and often loveless representations of sex.
Because of this film being both minimalist and particularly constructed, a particularly strange dichotomy exists where Enter the Void, in some respects, is easy to define, and in others, cruelly difficult. The film, while overlong, sometimes repetitive, and more than likely to wear on most brave souls who choose to view it, still asserts itself as a piece you cannot ignore, at least for long.
Often maddening, sometimes meandering, but undeniably original and topical, especially as it delves into the idea of a human psyche being ravaged by prolific drug use and the carnality and temporal nature of sexual behavior, Enter the Void magnifies the tiny microcosm it fashions for itself and expands it into creating an epic film that ostensibly crafts its own universe.
Starring: Nathaniel Brown and Paz de la Huerta. Jupiter and Beyond the Infinite tieman64 19 February Stylistically both film borrow heavily from directors Brian De Palma and Stanley Kubrick, artists whom Noe himself readily admits are his chief influences.
And so the roaming cameras of De Palma primarily "Snake Eyes", a film which Noe adores are taken to their extreme, and are applied to Kubrickean narrative structures which rely heavily on seemingly self-contained sequences; what Kubrick called "non submersible units". Beyond this, both films are packed with many overt and subtle references to Kubrick's "", "The Killing", "Eyes Wide Shut", and "A Clockwork Orange" key characters in both films are called "Alex".
But while De Palma and Kubrick went for classical beauty and ornate compositions, Noe — a guy who habitually visits prostitutes, strip clubs and drug dens in real life — goes for sleaze, gore, grungy cinematography, nudity and seedy set-pieces.
On the surface, "Irreversible" offers a simple story. A pregnant woman called Alex is torn between two men, Pierre and Marcus. She is carrying Pierre's child we think , but resents his oafish behaviour and drug use. Out one night, Alex is raped by a man called "The Tapeworm". Seeking revenge, Pierre and Marcus go in search of The Tapeworm.
A transvestite points them in the direction of "The Rectum", a gay S and M club. Here they find a man whom they believe to be The Tapeworm. They kill him and are later arrested by the police. Told through 12 sequences seemingly single takes , and with a plot which unfolds in reverse order, "Irreversible" sports a highly symbolic narrative structure and at least 6 warring narrators.
On the first level, "Irreversible" can be read as the "linear" fantasy of a serial killer called The Butcher. Appearing at the start of the film, The Butcher tells a story to a character - who is a film director in real life - who will later spin this into The Butcher's sick fantasy journey away from the filthy streets and toward his angelic daughter. This is the daughter he raped at the end of Noe's "I Stand Alone". On the second level, the film can be read as the musings of Alex.
She becomes an Alice in Wonderland figure another story told through 12 sequences who imagines a discontented life with Marcus who can't satisfy her sexually and whom is unfit to father her child , whilst also longing for her true love, Pierre. On the third level, the film is entirely literal and simply told through a disembodied "ghost camera".
Here, noir fate is evoked, "the future is irreversible" and all beauty turns to muck, all love a veneer over debased flesh. On this more metaphysical level, the film journeys from beautiful, heterosexual sex, to romantic disintegration, to homosexuality, rape, drugs, violence and sodomy. The baby itself turns from Kubrickean foetus, to a trans-gender to a parasitic tapeworm literally hiding in a Rectum.
On the fourth level, the film is a competing fantasy between Marcus and Pierre in which they jostle to dominate a woman whom they both believe to be slipping away. On the sixth level, Alex doesn't know the father of her child, wishes the baby's death, and stages a rights of passage for Pierre and Marcus.
Marcus wins and Pierre is arrested. There are other things to look out for: both the Tapeworm and Marcus spit on Alex, the Tapeworm has anal sex with Alex and Marcus vocalises his wish to do the same, Marcus suffers from "dead arm" and will later break his arm literally, Alex dreams of the red tunnel in which she is raped, Marcus and Alex's bedroom frolic is staged as an innocent version of an earlier rape sequence etc.
The book details what happens after death the soul leaves the body, explores moments from its past, is drawn towards a new body which it inhabits prior to reincarnation , a journey which Oscar himself undergoes. And so the film is comprised of numerous long takes in which Noe's camera roams above a city like a ghost. Mostly, though, the film is a systematic reversal of Kubrick's "". Here, all desire's are insatiable, humans are id-enveloped instant gratification desiring fck-machines and man has forgotten about outer space and instead turned hopelessly inwards.
In a parody of the birth of Kubrick's Star Child, Noe then ends his film with an ejaculating penis and a baby being graphically born This is a decidedly postmodern taken on spirituality: there is only flesh; transcendence as ejaculate. Despite their eye-popping visuals, both films are too long, too repetitive also the point; Noe banalizes "human sensation" , possess sex scenes which are at times too prettified why stage the rape of one of Europe's most beautiful women?
KineticSeoul 4 March This must be a very difficult movie to shoot, because it's in first person view in most of it through and there is no scene change or cut to other views in a lot of parts during the running time so it must have been crucial that no one makes any mistakes.
These are qualities that has been done in other movies but still in a way nothing I have ever seen before. And must have been difficult to execute and pull off. This is a very trippy movie, in fact people that might have a seizure over flashing lights may want to avoid seeing this movie.
Might miss out on seeing a awesome movie, but if it's worth having a seizure over, I say go for it. The camera work in this movie is truly amazing for the most part and it's a captivating movie and ballsy at the same time. The movie is basically about death and existence and about a man's journey into how everything went wrong in chronological order. And has a lot to do with out of body experience chronological order death and existence while dealing with death and existence.
The visuals in this movie is crazy and it's sort of like a roller coaster ride and the shock factor is done pretty well. The approach and direction to this movie is very original and different kind of movie, and seemed like it's going for the experience than anything else.
Hellmant 19 January It probably would be better if the viewer is high while watching it but it would still get pretty boring I'd imagine. The director says he filmed the movie in English so viewers would focus more on the spectacular visuals, rather than subtitles catering to America of course above all others , allowing only dubbed tracks in other countries.
The film is well over two and a half hours long at least the version I saw and it's relentless. Although some of the visuals are amazing the film as a whole is depressing and wasteful. The story is set primarily in Tokyo and is told completely through one person's perspective, a drug dealing and drug addicted American teenager named Oscar Brown.
He's killed early on in the film and his ghost appears to rise from his body and travel around the world, back and forth in time witnessing events that take place to his friends and loved ones. He mostly watches over his sister Linda Huerta who he had a special bond with since childhood when their parents were killed in a horrific car crash which is shown excessively in the film. The director says the film is not really about a teen who gets shot and lives on as a ghost but is in fact about someone who gets stoned and then shot and "has an intonation of his own dream", after reading 'The Tibetan Book of the Dead'.
I admire the creativeness of the film and it's originality but the movie is so excessive in almost every way and pointless, for the most part. It has that cool drug effect and might become a cult classic to get stoned to but I expect a lot more from a film. There's some character development and some decent acting, especially from Huerta, but the lead is only ever seen from behind and this hurts what little development there actually is for his character, so the viewer never really learns to care for him.
It follows his sister through her grief and anger from a disembodied remove. Its perspective removes any nuance from individual actors; they all become head-tops and foreshortened bodies, save when the camera occasionally dives into the lower, material world.
Often this means zooming in on a light source until it loses all definition. This technique repeats many, many times. Viewed from above, the characters become visually flat.
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