Visually it goes from being super-interesting, to just annoying - and that's a bit annoying since the visuals are the only decent thing in the movie: the story could have been appealing, but it was stretched way too much - and set up just to have 'shouldiwatchmysisdoingthings' scenes. O.o
The wild effects are impressive but lose their charm well before an hour for me personally. Gaspar Noe always has a strong beginning and then just drifts aimlessly. IDK if DMT could even save this weak plot. Opening credits are iconic. Saul Bass would be proud!
7.5/10 A film to admire, especially for cinematography and VFX, but impossible to love; it is hypnotic, but at times it can be repulsive. During some sequences it bore me, but in the last sequence it left me completely speechless. So, good job monsieur Noè. P.S. extra point for the flashback scenes, thats the way you handle memories
Noé's attempt to empathise with his characters is just futile, totally not his job. Also, trying to shock avarege viewers showing a spirit fucking his own sister and other incestuous stuff is a funny thing to do, I agree, but the rest of us are shocked only with sillyness. Boring, incongruous, at times wonderful. It could have been a good short.
Provocative. Extreme. "A psychedelic melodrama" as Noè says... An extreme journey through Tokyo neon lights, hallucinations, aeral views, that nihilisticly ends up with a word "Void", as a sort of warning that tell us the circle of life is endless and maybe it's just an eternal rotating movement around the void.
I watched this movie last night and still fascinates me. Unusual camera angles and the visual effects in the film are spectacular! I'm a little confused in the middle of movie. I think it could be because of some very long sequences. Or perhaps, it is too early to understand.
Noé's nauseating 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.