MUBI

Lembro bem que, ao escrever sobre “Anticristo”, em 2009, comecei a resenha alertando os leitores que um pré-requisito para aproveitar melhor o filme era já ter assistido ou ao menos conhecer o universo cinematográfico do diretor, no caso Lars Von Trier. Pois antes de falar qualquer coisa à respeito de “Enter The Void”, repito minhas palavras e digo que é obrigatório saber algo sobre Gaspar Noé, o diretor e roteirista do filme. No meu caso, ainda não tinha assistido à nenhum de seus trabalhos anteriores, mas já sabia que Noé era o responsável pelo polêmico filme “Irreversível”, que fez muito barulho quando estreou no começo da década passada. Portanto, já sabia que não se tratava de um filme fácil, nem pela temática, nem pelas seqüências. Pois bem, vamos ao que interessa.

Não faço a menor ideia se este filme chegará ao circuito brasileiro. Mas caso isso aconteça, eu só consigo pensar em um título que se encaixa perfeitamente à obra: “Epilepsia”. Claro que digo isso com bom humor. O fato é que não lembro de ter assistido à um filme com tantas luzes, e tantas cores se alternando nos poucos e diversos ambientes da trama. A trama que, por sua vez, não traz absolutamente nada de fascinante. “Enter The Void” conta a história de Oscar, um estrangeiro que é assassinado em Tokyo, e passa a seguir todos os passos da irmã (e amigos) que deixou para trás. Isso porque ele descobre, através de um livro, que após morrermos, passamos um tempo no limbo, entre o mundo real e a próxima reencarnação. Mas na verdade o limbo é a própria existência, mas apenas em alma. O motivo que leva Oscar à “seguir” sua irmã após a morte, é o pacto que ambos fazem quando pequenos, de jamais se abandonarem.

Não que o roteiro não seja bom. Mas não é algo que se sustente por 2h40 de filme. Por outro lado, se o roteiro não sustenta, algo no filme tem de ser bom para te segurar. Neste caso, com certeza se trata da fotografia e da direção de arte. Os passeios de câmera em longos planos seqüência são de hipnotizar qualquer apreciador da sétima arte. Os enquadramentos se dividem em 3: boa parte do filme acompanhamos Oscar em primeira pessoa, com a câmera subjetiva. Em outros momentos, a câmera se posiciona sempre atrás de sua cabeça, quase como se o estivéssemos seguindo. O terceiro tipo de câmera mais encontrado no filme (e o meu preferido) é a câmera aérea, mas que filma tanto planos internos como externos, em cima das pessoas, como se a câmera estivesse á 90º do objeto em questão. Tudo isso aliada à uma composição de cores em tons fortes, extravagantes e muitas vezes neon, que revelam uma Tokyo um tanto intimista e solitária, nada parecida com a cidade que estamos acostumados à ver pela tv. Só para não passar batido, enquanto assistia maravilhado aos passeios de câmera e às mudanças de cores entre os ambientes, foi impossível não lembrar de “O Cozinheiro, O Ladrão, Sua Mulher e o Amante”, de Peter Greenaway.

Confirmando o que eu imaginava antes de assistí-lo, “Enter The Void” não é um filme fácil de ver. Muito do que tem ali poderia ser enxugado e encurtado, fato que possivelmente desse um ar totalmente diferente ao trabalho de Noé. Ainda sim, mesmo longo, mesmo cansativo, é um filme que merece sim ser visto pelos interessados nas técnicas e ousadias dos diretores que pensam fora da caixa. Um dos filmes mais impactantes que assisti desde Anticristo. Seja isso bom ou ruim. Enter The Void.

This is not Ozu’s Tokyo anymore. French maverick Gaspar Noe takes a few tabs and presents a maddening, fascinating cinematic psychedelic tour of Tokyo’s seedy underbelly, as young American drug dealer Nathaniel Brown watches life go on, as a floating spirit, after he’s gunned down in a bar, focusing on his beloved, scattered sister. Extremely trippy, and sexually graphic; not for everybody, but for the willing it’s a visual delight.

Worst self-indulgent crap I’ve seen in a good while. Yes, the cinematography was pretty impressive but that doesn’t constitute a good film in itself. I was eagerly expecting to see a challenging film with an unorthodox narrative spiced with some state-of-the art digital trickery, but when the film finally ended, I was just plain outraged by the enormity of the pretense and pointless repetition that I had just witnessed. Huge disappointment by any means.

You think you’re ready for a movie, but obviously preparation is pointless. Gotta jump right in. Enter the void.

Is this a family drama? A drug movie? A death movie? A movie about extremes? A movie about getting sucked in and maybe never getting out intact?

From the first second, (actually I should say millisecond, because every fraction of this thing’s over 2 and a half hour running time is packed) your senses are blitzed. Your sense of direction, orientation, comfort, sanity, all of it gone.

This is a family drama. One of extremes. Traumatic events dominate, define and twist the relationships, and it keeps getting deeper. This is a drug movie. One of extremes. There’s no limit to their addiction or intoxication, and it keeps getting deeper. This is a death movie. Not just about the implications of death, but the very experience of death. And not just how it ends, but how it all comes back around to the beginning. You can even say this is a life movie. Life in extremes.

Exhausting and nerve-racking. Completely messed up. You’ve never seen anything like it. Don’t believe me? Try it. Don’t say you weren’t warned. I mean, the name of the movie is Enter The Void, after all.

8/10

Enter the Void is a thrilling story of a brother and a sister who go to Japan to be together after they’ve been separated because of their parents death. As you expect from a Gaspar Noe movie it is aimed towards our animal instincts, often making yourself uncomfortable of the human nature. What’s really astonishing about this film are the visual effects used, the colors, and the narrative form as it breaks the structures of traditional filmmaking.

The beginning of this film sets the mood for the whole movie, which you should keep in mind because it’s almost 3 hours long so expect to be physically and emotionally excited.

Please read before viewing this movie or allowing your children to view it. Some people are susceptible to epileptic seizures or loss of consciousness when exposed to certain flashing lights or light patterns in everyday life. Such people may have a seizure while watching certain images or viewing this movie.

Or, if you are epilepsy-safe, this movie may give you a huge headache, to say the least. But what an experience: I watched every bit of flashing lights, every over-saturated colour, I listened to every rumour and sound and heartbeat this movie – well, you can call it in this manner but actually is something more, or less, than this – was offering me. A two and a half hours long acid trip, shot in a mind-blowing goa-trance-like Tokyo, a lustful dream and a horrible nightmare, a constant dive into the void and into the light, constantly changing from scene to scene, floating in a zero-gravity atmosphere. A movie about life and death, family, love, sex, desperation and loneliness…visually stunning, this flick will shake your senses for sure, in a good or bad way: that’s why you will love it or hate it. Challenging, but it’s worth it.

This film is a visual marvel that definitely is better served to be seen in theaters. It is good watching it at home but know it would be a immaculate viewing experience on the big screen as your eyes are filled with nothing but the screen and it’s visuals watching this film you feel like you are on drugs or might be better watched while being inebriated not that I am encouraging that.

The film is so luscious it can be played in the background at a party and would still catch the attention of the crowd simply by the visuals. This film is unforgettable. It truly is one of a kind.

This film is a roller coaster ride that I will admit is definitely not for everyone this is a definite NC-17 as no one under that age needs to see this the film is full of nudity and what I believe to definitely be real sex scenes.

This is my first Gaspar Noe film though he is known to be a over the top director Of such films as I STAND ALONE and IRREVERSABLE. Usually satisfied to more or less shock the audience into submission. Which has always kept me away from watching his film. There is some real art here. That inspires me to try to watch his other films. Itruly didn’t expect to like this film as much as I did. He Descibes this film as a psychedelic melodrama which is the closest you’ll get to a explination of the film.

The film is shot mostly in P.O.V as the main character a drug dealer who is very protective of his sister. Get’s high and then tries to make a delivery where he is killed by the police while trying to get rid of the drugs. The rest of the movie follows him as he floats in the afterworld and watches over tokoyo and his sister. From time to time we are privy to flashbacks in his life.

The film makes no apologies as it goes. This is a film that will bow down to no one it seems like it is a film that exists and doesn’t really care about the audience it has a self confidence that goes I know I am a good film and if you don’t like me or understand that is your fault you are too stupid and I am smart. Remember that is the film talking not me.
I like how the film doesn’t hold you hand and leaves you to put together the pieces as the film goes along it sometimes holds back it’s secrets then shows you information that helps you figure things out later on your own.

This is a film that keeps my mind working thinking about it constantly and trying to figure things out. It’s a wild ride. A technical marvel with a vague storyline. It is inventive though. It’s like a modern 2001: A Space Oddessey only with lots of drugs, nudity and sex mixed with trying to find a deeper meaning.

Incubate your dream, your passion and your drive long enough until your organism is ready to defecate, vomit and urinate it all over the joint and you’ll come up with an intense work, the consequence for Gaspar Noe is his film Enter the void.

It is certainly not a masterpiece but is best seen as an ostentatious technical and stylistic masturbation, which is, fairly effective. It demands you to surrender to it, which if achieved, it could become a pleasant experience, if not, it’ll be an uncomfortable drag. As it is the case in most films of this highly ambitious scope and creative calibre there are sections, due to its overlong duration, where one could slightly lose interest to only gain it after a slap in the face or, in this case, a screen-size penis coming at you.

Being this a stylistic-trippy film it has its fair share of meditative allusions. Dare I say, that if Tarkovsky, or any of the now abundant contemplative filmmakers, would’ve decided to make a fucked up-hallucinogenic-contemplative film it would be similar to Enter the void.

This is Noe’s Inland Empire and Synecdoche, New York, his ambitious project that tortured him at nights. Be or not a fan of Gaspar Noe one cannot deny his engaging creativity and provocative auterism which is certainly enough to put him on the radar.

A mandatory thing: experience it on the big screen, if not, don’t even bother.

The film is a prolonged sexual intercourse (figurative and literally) with scarce orgasms, but sex will always be sex and we want it to last.

Enter the Void is brilliant. If you are familiar with this directors body of work then you know about Irreversible. Containing one of the most horrific rape scenes in the history of film, this film is just as tripped out as a Tokyo drug dealer, samples some of his own wares. Throw on top of that a even graphic depictions of abortion and abrasive performances from those involved, and you have one of the most unique films of the year. The nightlife of Tokyo is on display, with glittering everything and very bright flashing colors as we enter Oscar’s mind for a trip after he gets shot.

His sister is a stripper so her life isn’t a beacon of hope for a better life for Oscar, her brother. As the story progresses, he ends up getting killed and the camera follows his spirit out of his body and hovers above the action. It is a surreal experience and one I think everyone should watch. The POV is so spectacularly well delivered and well executed. He spends his time revisiting anguish, particularly his scenes from his childhood. After that the film transforms into more of a psychedelic, visual experience while the story fades away. The acting is quite wooden and doesn’t ring true but that is only a minor quibble when compared to the film’s bloated running time.

The maze-like electricity of downtown Tokyo at night, one must actually sit down and experience it, letting it wash over you, to fully appreciate the work. I just get the feelings this movie would get so censored in America it would be a whole other film when showed over the ocean. There is a great deal of drug use and some explicit sex but the film is compelling. Even though the story itself is kind of second to all the mind blowing visuals, it still anchors the movie to a point, that this is not just one big light show with dazzling visual effects. It is a story about how the War on Drugs ruins lifes for nothing. And it is a story about how dying may be, leaving the body, reflecting all past and entering the circle of life again. As a fan of the director I have admired his ability to shock his audience and to make us think. The POV-style changes as the film progresses. Like the Story of Jesus, the film enumerates every one of the core sins and portrays the pain and sorrow attached to each one of them. The story does go back and forth in moments of the lead characters lives. But by the end I wasn’t quite sure if it was all just some heavy trip or what was going on was real. In other words, you must be prepared to partake in the experience. Make sure you Enter the Void. The void is full of wonders.

Gaspar Noe came out swinging in 1998 with his powerful debut I Stand Alone, which was a Taxi Driver like story featuring a crazed, racist out of work butcher’s descent into madness. Then came Irreversible, a film so truly horrid and horrible, I didn’t think any filmmaker could possibly recover from this. The film does have its defenders, but to these eyes Noe was putting his audience through an ordeal without the sufficient cinematic or intellectual nourishment to justify it.

So after Irreversible I had written Noe off as a cinematic bad boy, who just wanted to shock. For a lot of people, I don’t think Enter The Void will change this perception, but he does not seem to be aiming for shock, as much as he is aiming to push the boundaries of narrative storytelling. Although he trips himself up more than once, his risk taking does largely cohere into a powerful, exhilarating whole.

The tale is told through the POV of twenty something drug dealer Oscar (Nathaniel Brown), who lives in Tokyo with his sister Linda (Paz de la Huerta). The first twenty minutes are told in one long POV shot without cuts(no visible cuts anyway). Then Oscar is killed by police in a nightclub and he becomes disembodied, and so does the camera.

The narrative, such as it is, concerns Oscar’s attempts to make sense of how he came to wind up dead on a bathroom floor in a nightclub. Noe’s narrative strategy, to essentially get rid of three dimensional characters, allows his film making virtuosity to flourish. With the help of some really impressive cgi the camera zooms around Tokyo and moves freely back and forth through time as Oscar tries to put the pieces of his life together and see how his death is impacting others, especially his sister.

It is with the character of Linda that we run into some problems, as Paz de la Huerta is a terrible actress, and any time she is called upon to emote, scenes that may have been powerful otherwise, become excrutiatingly tedious. Another issue the film runs into is the repetition of certain scenes for no apparent reason, and this also grows tedious and exhausting.

Yet despite the flaws in this film, and there are many, the center of the film holds because despite the lack of three dimensional characters, a real humanism has reared its head in Noe’s work. There are many moments as the camera is viewing certain events, or just travelling around the city, a genuine ache begins to affect the shots, and it feels as if Oscar’s consciousness is projecting on to the film, and it is apparent that Noe has a genuine compassion for the characters of Oscar and Linda, which isn’t always apparent in his previous work.

Ultimately one’s enjoyment of the film will depend one’s fortitude for all of Noe’s indulgences(and make no mistake, he is being extremely indulgent here). But ultimately it is exhilarating to see a no holds barred vision make it onto the screen, and this is certainly that. Noe has not quite made a masterpiece, but he has certainly pushed his film making to a realm I thought was unattainable for him and I look forward to see what he does next. I probably could have done without the vagina cam though.

I cant remember the last time I was in a movie theater when the audience ripped open in applause simply because of the opening credits. Maybe it was because the somewhat controversial director Gaspar Noe hasn’t released a feature in almost 8 years. Or maybe its because the opening credits to his latest film; Enter The Void have more energy and excitement than most films have in their entirety. Seriously, I haven’t gotten so hype from an opening credit sequence since the first time I saw David Lynch’s Lost Highway in the theater years ago. Enter The Void, centers around the relationship between a low level drug dealing brother (Oscar) and his stripper sister (Linda) who’s parents were killed when they were little kids. After their parents’ death, Oscar and Linda make a promise to never separate from each other, but that pact is soon broken when they’re sent to live in different foster homes. After years of being apart, they finally reunite, living together in Japan. However, they’re separated once again, this time permanently, when Alex gets set up by his friend and killed by the police. Although Alex’s body is dead, his spirit still remains on earth, and we spend the rest of the movie looking through Alex’s point of view as he watches over his sister (still keeping the promise he made to never leave his sister). The POV perspective isn’t as bad as cloverfield, but at 2 hours and 23 minutes, your eyes my need a break so you might want to look off to the side for a few seconds.
The acting in Enter The Void is nowhere near as good as the acting in Noe’s other films. In fact, this is probably his weakest film when it comes to acting (when you go from your last movie headlined by an amazing actor like Vincent Cassel to having 2 mumbling 20-something year olds front your cast you notice the difference) . But at the same time, this isn’t a performance-driven movie. Enter The Void relies more one CGI, trippy sequences, (sometimes) dizzy editing and dark atmospheric music. Unlike Gaspar Noe’s previous work, there aren’t any pregnant women getting punched in the stomach (I stand alone) or faces bashed in with the butt end of a fire extinguisher (Irreversible). I think by now anyone who’s been following this movie knows that many people are comparing Enter The Void to Stanley Kubrick’s 2001: A Space Oddessy. Now, Enter The Void obviously doesn’t have the same impact as 2001, but at the same time, watching Enter The Void is like watching the last 20-30 minutes of 2001, except for over 2 hours. No matter what, you have to respect what Gaspar Noe did. With each film, he becomes and more technically advances, and manages to push some kind of boundary, weather it be special effects or how we view violence in film. If you were able to make it through Irreversible, you shouldnt have a problem sitting though this.

Literally the most intense, racy, grimy, grueling film I’ve ever watched. With the most amazing credit sequence. And yet, even with its demented intensity and disturbing qualities, it was brilliant. That’s not to say it was not flawed. But, I did very much appreciate the unusual lengths the director and cinematographer went to and I’ve seen nothing like it before.

The film presents the seedy dark underworld of Tokyo, with a sister and brother, Linda and Oscar, orphaned and reunited as adults. It follows Oscar, prior to his murder and after his murder (as he comes to watch over his sister after death). The whole film is practically from his point of view which is extraordinary. The camera flickers when he blinks, and we often see him from behind (to give the viewer the feel that you are looking through his eyes). When he gets shot, we feel as viewers, that we were shot too. The death scene is shown in an unusual manner that makes us feel more vulnerable. After his death, the camera takes on a even more voyeuristic lens, looking down at the city and traveling quickly through rooms, and peering in on the lives of various individuals in the city.

The film is brutal to watch, both visually and psychologically. We follow Oscar and enter his subconscious in his drug trips. The film returns to the siblings’ childhood, and the trauma they’ve suffered. Sex is prominent in the film, it’s like air to the citizens of Tokyo and is shown in an almost pornographic way with touches of dark glamour and hints of the cosmic divine.

Oscar’s view is a ghostly nightmare-scape where like the sign that is emphasized throughout the film “Sex, Money, Power”, people are searching. Searching for happiness and its source, diversion, and control. They resort to strip clubs and hard drugs and yet neither can fully protect them or give them what they want. The opening dialogue about seeing the world from up above in relation to death encapsulates the mood of the film and foreshadows what is to come. The title of the film is impeccable, especially with the constant appearance of the sign “Enter” by Oscar’s apartment and the club Linda works at: “The Void.”

You wouldn’t expect with such an unconventional narrative style that you’d really see the characters as three-dimensional. And yet, Gaspard Noe makes this possible by delving into the characters’ psyche. We see them often in their darkest moments, dealing with their demons, and nothing is sacrificed in terms of the viewer’s stomaching of the rawness shown on screen. The juxtapositions of shots create often puzzling but thought-provoking relationships, such as the transition from Oscar’s bullet wound to a hole in a play treehouse in a quiet park (that later cuts to Linda, emotionally damaged and asleep).

It isn’t something I’d be able to watch again I don’t believe but certainly something that should be seen once definitely if you’re able to handle it (you’d have to be prepared. I was cringing much of the film. epileptics would have seizures at the sight of all the flashing neon lights in the film, the sex is explicit, and drugs are prominent)

Gaspar Noe’s frustrating, challenging and provocative new film pushes cinema to new heights and boundaries, a feat seemingly impossible after his previous films. The mantra that keeps being repeated about this film is that it’s difficult to put into words, even by the most eloquent film critics and programmers, ETV is an all encompassing event to be experienced, a cinematic literal trip that is simply about drugs and death and life and love. Also it has the best opening credit sequence of any film ever. I hope no one has the opportunity to watch the credits without having to sit thought the entire 2 ½ hour ordeal though because that’s cheating.

Words can seriously not describe the visually rich and assaulting epic tale of death and its aftermath of memories and spiritual travel that is Gaspar Noé’s Enter the Void. Self-proclaimed as “weird” by the director himself at it’s World Premiere at the Toronto International Film Festival, (the print screened at Cannes was a work-in-progress), he says his attempt was to create a near death experience on film. So, with stunning imagery; fullscreen frames of solid bright color pulsating at epileptic seizure-inducing rates; extended moments of seamless cutting to make long passages appear to be one take; first person camera-work spliced from straight shots merging into fish-eye lens distortion; extreme close-ups, either computer generated or otherwise, appearing as though a fly filmed the entire thing while in flight; and just the maze-like electricity of downtown Tokyo at night, one must actually sit down and experience it, letting it wash over you, to fully appreciate the work. Noé is a genius of some kind, always on the fringes of the industry, appalling some, disgusting others, and written off by the rest, yet I can’t genuinely say I’d recommend anyone seeing this movie. And therein lies the problem, if words can’t describe it and I couldn’t in good conscience send you to see it due to the extensive drug use, realistic sex scenes, and harrowing moments of graphic brutality, what else is there to do?

It definitely is an important film to the industry, though, just in the technical prowess on display. Noé has an eye for cinema, utilizing who knows what for shots that I’ve never seen before. He said after the screening that a lot of post-production was necessary to craft every moment into the piece of art he finished with. Aerial shots of the cities were recreated with computers, frames were meticulously darkened or lightened when needed, (the auteur is so specific and detail-oriented that when the film ended he came up and said he’d never seen it so dark, the projector must be different than his, but what could he do?), and the giant phallus that is mentioned everywhere when speaking of the movie is an interesting moment because there is no way you could put a camera where it would be needed to capture that shot. There are religious underpinnings laid throughout between a Buddhist book given to our lead Oscar to peruse or the issue of reincarnation and whether the soul traveling after his death was finding itself a new vessel to be reborn in or just a journey back, recalling his own conception. Noé mentioned that he wanted it to feel like the time he watched the Lady in the Lake on mushrooms; I can’t say I’ve ever done hallucinogens, but I can imagine the feeling would be similar to watching this work.

There is so much to absolutely love as a cinephile here. The flashbacks to a time where Oscar and his sister Linda were in each others’ lives, orphans after the horrific death of their parents, are shot with a filter to make them magically fairytale-like; the amount of crap crammed into each frame of the present, whether in Oscar’s apartment, a nightclub bathroom of filth during a supposed drug dropoff, or the dressing room of Linda’s strip club, or even the fictional “Hotel Love” made real in our dying spirit’s vision from an elaborate model city shown to him some time before is immense; and the enhanced close-ups, again, are phenomenal—swooping up from an ashtray with a lit cigarette lying inside, burning and sizzling away … just gorgeous in a messed up way, much like a lot of things here. Speaking of the parents’ death, what a sequence showing the car crash that took their lives. The sound is deafening, the truck’s headlights coming straight for us as we watch it from the backseat, and the visceral, physical feeling of being rocked back yourself from the impact you cannot feel, it is seriously that effective. You become Oscar, transported into the movie to live through the chaos and turmoil. I’m liking the movie more and more as I write this essay, reliving the scenes and remembering how they grabbed me and threw me around … and yet I still don’t know if I’ll ever want to—or have the chance to—see it again. Do not expect this thing hitting a local multiplex any time in the near future; it’s subject matter going way beyond your regular NC-17 flick.

I do not want to nitpick the acting, since it is such a small part of the ride, but you can’t help notice the amateurish quality. Nathaniel Brown plays Oscar—who admittedly isn’t in the film as a person you see very much, more so utilized as voiceover at the start—in a debut role. Listening to him speak, while looking out through his eyes, can be somewhat painful as his line delivery is awkward and not quite realistic. The second lead, Linda, is played by Paz de la Huerta, a friend of Noé who said at the screening that she was surprised when cast, not realizing she was even up for the part. She has an extensive filmography of small roles, but one must wonder whether she earned the spot due to her being okay with nude and sex scenes rather than her acting skill. Again, though, the performances come secondary to any other visual flourish shown as the people really just become pawns to be played with and shot within the atmospheric environments. But there is one riveting turn, by Emily Alyn Lind as young Linda in flashbacks, needing to be mentioned. Wow, is this little girl phenomenal. Her screaming, inside the car at the moment of the crash looking at her bloodied parents, or being taken away by a family from her brother for adoption, sent chills down my spine. So emotionally draining, I worry for the parents who let her act in a film like this, in a role so demanding, but can’t deny the power she adds, literally being the best actor by far.

There really isn’t any more to say. Just know going in that the journey will be difficult to complete but wondrous if you open your mind to its out-of-the-box beauty. Straight from the get-go, with an extended title sequence quickly flashing every single name of anyone who worked on the project in a strobe light effect, you begin to see the job your eyes and mind have before them. I might buy the film on DVD just to pause through this opening to see the myriad of fonts and letter treatments used, each frame different. Even Noé’s name itself, flying by numerous times due to his extensive work as its creator, is changed every instance, sometimes resembling a metal band’s logo, sometimes a video game title, but always going a tad too quick to really know what you’re seeing. And that is a good way to sum it all up; Enter the Void runs through 155 minutes of disturbing and magical imagery, overwhelming you at every turn in its rapid pace. An audience member asked the director if he questioned the inclusion of any scene, to which Noé responded, “If it made the movie, I must have liked it”. No truer words could be said as this two-years-in-the-making opus was crafted from a love only a parent and child can share, and it shows.

http://jaredmobarakreviews.wordpress.com/2009/09/12/enter-the-void/