Noé's nausea masterclass after Irreversible. There is a scene that haunts me ever since I saw the film for the 1st time in a theatre : the toilet scene. It gives the suffocating and nauseous feeling that comes with realizing how thin the transition from life to death really is. Why's the film so annoyingly long? Because under acid times moves tremendously slowly. And yes, sometimes it's not pleasant at all.
Enter the Void peaks as a hypnotic visual spectacle – a neon trance meditation that delves deeply into some sickly, unspoken crevices – that only stutters at the cloying clasp of Noé's ego. That said, I can't help but admire his vision, style and audacity; it's altogether the kind of balls-to-the-wall crazy cinema that should at least be experienced, if not embraced.
Enter the void is like a new psychedelic, glamorous and kubrickaesque drug. People who talk about this film said "is only a style exercise", and yes it is, but it works. It hasn't a strong plot, screenplay or dialogue. Noé's target were one: instill a strong perception of solitude in a world that eternally row against you and, if a great director communicates through images, ladies and gentlesmen, Gaspar Noé did it.
The Tibetan Book of the Dead, and DMT. I thought like the soul didn't get to choose it's rebirth, but that it's rebirth was contingent on the way the soul responds to the Bardos, but I'm no expert. All I know is authentic or not, it was a mistake having him reincarnate as his sister's baby. That's retarded.
Love this film, when I first watched it I got so lost in the trucks of the cinamentography that I forgot the actual plot. The lighting was also so great, my only bone to pick was that I really want a little more back story on the characters because I was a little confused on the infatuation the brother had for the sister and vice versa, but I'm going to research this again and really try to stay with the story.