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Enter the Void (Gaspar Noe, 2010) – New Movie Review

Enter the Void (Gaspar No?�, 2010) – Gaspar No?� lets his freak flag fly in Enter the Void, his DMT-tripping, POV-camera epic of indulgence. Whether you dismiss becoming trash or praise becoming genius, there is absolutely no denying that No?� is taking care of a completely original level. After seeing the film at Cannes during 2009, Manohla Dargis said, “This may be the work associated with an artist who’s looking to show us something we haven’t seen before.” That is a truly true statement, and to watch Enter the Void is to marvel at No?�’s formal experimentation. What he has to say is adolescent and exploitative, but there is something thrilling about watching him take such huge risks.
No?� appears to have an obsession with dark underworld club scene situations conducive to horrific violence. He explores very similar territory in Irreversible, with a similar sort of roving, eye-level camera. Yet, in comparison to Enter the Void, the earlier film can be a positive delight to take a seat through. Both films punish the viewer with shocking sex and violence, but Enter the Void entirely forgets about its audience.
Things actually begin promisingly enough, once we follow our protagonist Oscar (Nathaniel Brown) because he smokes DMT, heads over to an organization to make a drug deal, and gets shot by police resisting arrest. We experience all of this from his literal POV, in fact it is exciting to see how No?� moves his camera. Indeed, an important feature about your entire film is No?�’s camera, that is never still and constantly surprising. (He has admitted which he didn’t direct some of the actors in the film, but which they directed themselves.) Once Oscar dies, we float away from his body and upward. The conceit (the film is exceedingly conceptual in nature) is the fact that his consciousness has left his body and remains present on the earth, observing however, not capable to talk with the living.
Let’s back up somewhat. Oscar became a drug dealer so he could earn enough money to fly his sister (Paz de la Huerta) to Tokyo to become reunited with him. When she arrived she became a stripper and started partying using a lot of shady people, and to know, maybe one too ratted out her brother. She was originally separated from her brother once they were children, after witnessing the horrific accidental deaths of their parents, and being delivered to different foster homes. We experience this through flashback, that is supposedly still being seen by the dead and/or tripping spirit of Oscar. No?�, of ซีรี่ย์ ญี่ปุ่น employs visual-matching cuts which begin to setup the narrative themes. The feeling expressed is surely an overwhelming concern with abandonment plus an obsessive attachment to mother-figures, also to their breasts especially.
But in the same way No?� starts to tell a real story, he stops in the tracks, and proceeds to spend the last couple hours of running time floating between buildings, hovering around streetlights, repeating (yet not expanding) the themes stated previously, and mostly observing his sister as she fucks her way with the guilt and pain she’s over her brother’s death. Far too enough time (nearly three hours inside cut I saw) is invested in barely a hint of your plot. (We don’t care in any respect about the police investigation, nor about Oscar’s friend the trail philosopher, nor about a lot of the many strands we observe.) The way he refuses to use straight cuts for the majority of the film makes it drag interminably, and, worse, each graphically-stylized transition raises expectations that we’re entering the ultimate scene. After being jerked around for hours, this could wear on anybody’s patience.
There isn’t a single frame that No?� doesn’t inflect with layers and layers of effects. Given his aim of recreating the experience of an hallucinogenic trip, it’s somewhat obvious to select Tokyo, using its fluorescent lights and strange foreignness to Americans, as the film’s setting. Soon No?�’s camera swoops over rooftops, through apartment walls, to the backs of people’s heads, into fires and lights and urns. No?�’s choices grow increasingly absurd once we find ourselves entering a bullethole, observing an authentic abortion, and later on witnessing sexual congress from the inside of a vagina. Mostly, though, the digital camera hovers directly behind the protagonist’s head. His is often a literal interpretation of the out-of-body experience, which betrays what some may call a superficial idea of profound catharsis. I think his literal approach is commendable for that technical gauntlet No?� has set up for himself, a gauntlet that they stubbornly chooses to traverse. Unfortunately, we viewers have to go on the exploration, too, and No?�’s mind would be to adolescent and ultimately shallow to get worth exploring.
If you’re making it right through to the ultimate reel, you may be rewarded with two exciting, highly expressive sequences. No?� uses miniature models to generate a bizarre, trippy flyover through Tokyo. Then we type in the Love Hotel and observe various forms of copulation, digitally enhanced, needless to say. His editing and camera tricks and digital manipulation create experiences that push the chances of cinematic expression and expand the film language of drug-induced subjective states. The film world needs more risk-takers like No?�, to inspire others with their forward-thinking ideas. It is because of this that I was thrilled by Enter the Void even as I felt assaulted (and confused, and bored) by it. I’m not gonna recommend the film, but I also shouldn’t stick my nose up in internet marketing. In fact, I wish more people were ready to go ahead and take (small) risk that they could be bored or shocked by a film, around the off chance they could stumble onto something genius, something, perhaps, they never imagined possible.