Enter the Void (2009) - Gaspar Noe

[Ezee E]

Not much is known about this project, except that it's loosely based on "The Tibetan Book of the Dead" and takes place in Japan. It apparently took a year to plan the elaborate shots.

http://kubrick77.free.fr/photos/enter_the_void/9B5AE986-CAD7-4EA2-835CAD266378EE80.gif
http://kubrick77.free.fr/photos/enter_the_void/69DCF602-92CD-4615-A69297E6A38FF72F.gif
http://kubrick77.free.fr/photos/enter_the_void/DE3240A2-3B46-4650-8284D0551CB7FD74.gif
http://kubrick77.free.fr/photos/enter_the_void/892BE215-BB1F-48CD-AFAD58793A994587.gif
http://kubrick77.free.fr/photos/enter_the_void/13E3E1E8-84B9-4571-9B920B290F80D1C4.gif
http://kubrick77.free.fr/photos/enter_the_void/61CEC6AB-1AEE-4E69-BE720C940860A1A1.gif

[transmogrifier]

It's sure to be a sun-drenched, frothy farce that appeals to all generations.

[Qrazy]

Looks like more beautiful but gut churning imagery... I dunno, something about his work makes me feel like it's stance against violence is almost just a pretense in order to show ugliness. A very craftily executed pretense for sure, but for some reason I just can't help but feel this way.

[Grouchy]

Wow awesome, I didn't know he was working on another feature.

[B-side]

Any word on a trailer?

[Ivan Drago]

Is the first image the poster? Looks beautiful.

[trotchky]

Yeah, that's a really great poster.

[baby doll]

Enter the Void... man this guy's obsessed with vagina.

[B-side]

Enter the Void... man this guy's obsessed with vagina.

How do you...

The movie's largely inspired by a near-death experience of his. I mean, I don't...

Where do you...

[baby doll]

http://kubrick77.free.fr/photos/enter_the_void/892BE215-BB1F-48CD-AFAD58793A994587.gif

Come on, enter the void. What do you think he's talking about?

[B-side]

http://kubrick77.free.fr/photos/enter_the_void/892BE215-BB1F-48CD-AFAD58793A994587.gif

Come on, enter the void. What do you think he's talking about?

Approaching death? The after-life(or lack thereof)?

[baby doll]

Approaching death? The after-life(or lack thereof)?Clearly you haven't seen Noé's other films, or did but failed to grasp the subtly profound anal symbolism of Irréversible.

[B-side]

Clearly you haven't seen Noé's other films, or did but failed to grasp the subtly profound anal symbolism of Irréversible.

I've seen I Stand Alone, Sodomites and Irreversible. I don't remember much in the way of anal symbolism in Irreversible, but I wouldn't discount its existence.

[baby doll]

I've seen I Stand Alone, Sodomites and Irreversible. I don't remember much in the way of anal symbolism in Irreversible, but I wouldn't discount its existence.You don't remember "much in the way of" anal symbolism? The club was called The Rectum. The rapist was named The Tapeworm. The big dialogue scene is set on the subway. Monica Bellucci gets raped in a red tunnel. Monica Bellucci gets raped in her ass. Hello, symbolism?

[B-side]

You don't remember "much in the way of" anal symbolism? The club was called The Rectum. The rapist was named The Tapeworm. The big dialogue scene is set on the subway. Monica Bellucci gets raped in a red tunnel. Monica Bellucci gets raped in her ass. Hello, symbolism?

Heh. Now that you bring it up...

I forgot the "names". Interesting.

[Spaceman Spiff]

looks cool. I dig Noe and anal.

[[ETM]]

You don't remember "much in the way of" anal symbolism? The club was called The Rectum. The rapist was named The Tapeworm. The big dialogue scene is set on the subway. Monica Bellucci gets raped in a red tunnel. Monica Bellucci gets raped in her ass. Hello, symbolism?

Not to mention the depravity inside the Rectum, with anal fisting and gaping being brought up alarmingly often...

[trotchky]

Enter the Void... man this guy's obsessed with vagina.

Wait, so is he obsessed with vagina, or is he obsessed with anus?

[Ivan Drago]

Speaking of Noe, I really liked I Stand Alone. Tough to watch at times and sometimes the Butcher's inner monologues go by fast (I had a tough time reading the subtitles because they went by so fast), but those work as his inner thoughts and for that, it makes sense as to why they're delivered so fast. A lot of ideas were conveyed in the film as well, and I also liked following the Butcher's progression throughout the film.

Also a part I thought was cool was the card "You have 30 seconds to leave the screening of this film". I don't know why, but I thought that was cool and reminded me of Week End.

[baby doll]

Wait, so is he obsessed with vagina, or is he obsessed with anus?Both, and phallus.

[number8]

Seeing this tonight. Excited.

[Ezee E]

Seeing this tonight. Excited.
Finally getting a release???

[number8]

Finally getting a release???

September in NY. IFC picked it up.

[Ezee E]

September in NY. IFC picked it up.
Took long enough. I'm wary about it because of it taking this long to get picked up.

[number8]

Interesting. The cut I'm seeing tonight is 137 minutes. I wonder what's left out.

[number8]

Wow.

[B-side]

Wow.

I'm pretty excited for it.

[Ivan Drago]

I've been excited for this since seeing the trailer and opening credit sequence.

[Qrazy]

Wow.

Cock tease.

[number8]

Looks like I might be interviewing Gaspar Noe in August.

That should be something.

[number8]

Cock tease.

I'll leave you with this description of the visual style:

It's like Irreversible meets 2001's Jupiter segment meets Prodigy's "Smack My Bitch Up." Directed by Takashi Miike.

[Russ]

I've never seen one of Noé's films (dunno if I have the stomach to see Irreversible).

However, having said that, I absolutely love these seizure-inducing opening credits from EtV:


tPxgi-PiNFE

[Bosco B Thug]

I'll leave you with this description of the visual style:

It's like Irreversible meets 2001's Jupiter segment meets Prodigy's "Smack My Bitch Up." Directed by Takashi Miike. So it's exactly how it looks?

More, or less, rewarding than Irreversible?

[MacGuffin]

So it's exactly how it looks?

More, or less, rewarding than Irreversible?

Dude, I've heard the movie takes its queue basically from those first few apartment scenes in Irreversible.

[Bosco B Thug]

Dude, I've heard the movie takes its queue basically from those first few apartment scenes in Irreversible. Two hours of vomit cam! Yay! Puke.

That said, I have some hope for this.

[number8]

In the press kit, Noe said that Irreversible was a "trial run." It was him testing the camera techniques so he'd know he can make this movie.

Yes, when the camera's not floating around above the characters, it's either behind the main character's head or in first-person view. Literally the entire movie. All 2.5 hours of it. There's not a single traditional shot in this film.

Also, strobe lights. All over. And when it's in first-person view, the camera shutters to simulate blinking.

Do not see this fucking movie if you have seizures.

[Bosco B Thug]

In the press kit, Noe said that Irreversible was a "trial run." It was him testing the camera techniques so he'd know he can make this movie.

Yes, when the camera's not floating around above the characters, it's either behind the main character's head or in first-person view. Literally the entire movie. All 2.5 hours of it. There's not a single traditional shot in this film.

Also, strobe lights. All over. And when it's in first-person view, the camera shutters to simulate blinking.

Do not see this fucking movie if you have seizures. Bleeeeeeegh.

That said, I still have some hope for this movie.

[Ivan Drago]

8, will you be posting a review soon?

[MacGuffin]

This movie looks as promising to deliver as I've always imagined it might and from the sounds it, it's also more experimentally groundbreaking than Inland Empire, to name a more recent example of a film like that.

[Spinal]

Definitely going to try to see this on the big screen. I still remember vividly going to Irreversible and seeing it operate on a large audience was fascinating.

[D_Davis]

I've never seen one of Noé's films (dunno if I have the stomach to see Irreversible).

However, having said that, I absolutely love these seizure-inducing opening credits from EtV:


tPxgi-PiNFE

Yeah - that was damn awesome. Really want to see it.

[KK2.0]

In the press kit, Noe said that Irreversible was a "trial run." It was him testing the camera techniques so he'd know he can make this movie.

Yes, when the camera's not floating around above the characters, it's either behind the main character's head or in first-person view. Literally the entire movie. All 2.5 hours of it. There's not a single traditional shot in this film.

Also, strobe lights. All over. And when it's in first-person view, the camera shutters to simulate blinking.

Do not see this fucking movie if you have seizures.

sounds like the first true videogame movie :D

i don't like Noe's films but i love this kind of experiments, Irreversible is such a trip.

[D_Davis]

I've heard it described as the most video game looking movie ever made.

[number8]

I guess. The thought crossed my mind, but there's really nothing "video gamey" about the movie.

[Boner M]

I dunno what to do with this thing.

[Boner M]

Equation description that crossed my mind: Speed Racer by Michael Snow.

[Boner M]

OK, this movie's basically really fucking retarded and no amount of formal swagger can hide how juvenile & idiotic Noe's worldview is.

[Winston*]

I dunno what to do with this thing.

What I did with it was decided I didn't actually want to see it and then didn't.

[soitgoes...]

I dunno what to do with this thing.


Equation description that crossed my mind: Speed Racer by Michael Snow.


OK, this movie's basically really fucking retarded and no amount of formal swagger can hide how juvenile & idiotic Noe's worldview is.What are your thoughts on Noé's other films? I need context dammit!

[Boner M]

What are your thoughts on Noé's other films? I need context dammit!
Love I Stand Alone and really like Irreversible.

[soitgoes...]

Love I Stand Alone and really like Irreversible.Ouch. This isn't good. At least it was only directed by his penis.

[KK2.0]

OK, this movie's basically really fucking retarded and no amount of formal swagger can hide how juvenile & idiotic Noe's worldview is.

will watch this for the visuals, hopefully i won't get bored.


and to be honest, i think Noe's older movies already striked me as shallow or too obvious, but he's one of a few directors whose movies i look foward to watch, despite not liking everything they do. Greenaway and Breillat for instance, even if i don't like their films as a whole, there's always something memorable, and sometimes i find this to be more worthwhile than something entirely correct or mediocre.

[Qrazy]

will watch this for the visuals, hopefully i won't get bored.

and to be honest, i think Noe's older movies already striked me as shallow or too obvious, but he's one of a few directors whose movies i look foward to watch, despite not liking everything they do. Greenaway and Breillat for instance, even if i don't like their films as a whole, there's always something memorable, and sometimes i find this to be more worthwhile than something entirely correct or mediocre.

Agreed on all counts. For instance I keep watching Von Trier films even though I don't care much for him.

[Boner M]

Posted (http://sydneyfilmhappenings.blogspot. com/2010/08/enter.html) a crypto-review of sorts at my blog.

[NickGlass]

Even without having seen Enter the Void, I love your review. And, if I'm not mistaken, I saw it linked from some pretty well-known sources.

[Boner M]

Even without having seen Enter the Void, I love your review. And, if I'm not mistaken, I saw it linked from some pretty well-known sources.
Yeah I noticed Scott Tobias RT'd it. My 15 minutes starts here.

[Ezee E]

Trailer (http://trailers.apple.com/trailers/independent/enterthevoid/)

[Ivan Drago]

Trailer (http://trailers.apple.com/trailers/independent/enterthevoid/)

Looks amazing, seizure-inducing sequences be damned. Wonder what Thomas Bangalter's gonna do for the music this time around.

[MacGuffin]

Looks amazing, seizure-inducing sequences be damned. Wonder what Thomas Bangalter's gonna do for the music this time around.

The good thing is that it looks exactly like what I've been waiting two years to see. (Hopefully) no bullshit with this movie.

[Boner M]

Looks awesome! Man I can't wa-

Oh, right.

[Dukefrukem]

Yeh this looks pretty good.

[MacGuffin]

I just bought my ticket! So excited!

[MacGuffin]

It's true that some of the movie's philosophical ties are somewhat flimsy and amateurish, but all that stuff is 100% irrelevant and easily forgotten after you allow yourself to be sucked in by one of the most ambitious visual roller-coaster rides I've ever seen. Basically you'll leave Enter the Void getting as much out of it as you want to put it. At times, I found myself occasionally disappointed at its harshness, until I reminded myself it was a Noé movie. For example, a pleasant roller-coaster ride scene is wonderfully filmed and totally enjoyable until it turns into what most would probably label a lame attempt to shock. To me, the movie feels like Inland Empire's Aphex Twin-loving long lost brother. Demands a big-screen viewing. Lots of other stuff I want to talk about but am not thinking about right now. It's got a lot of obvious faults, but its visual design and narrative structure are too damn invigorating for me to give a shite.

[Ezee E]

This is coming to Denver on October 22nd due to amount of requests through e-mail. I was one of them.

:pritch:

[Ezee E]

What's the amount of violence/sex in this compared to Irreversible?

[MacGuffin]

This is coming to Denver on October 22nd due to amount of requests through e-mail. I was one of them.

:pritch:

Great!


What's the amount of violence/sex in this compared to Irreversible?

Hmm, I'd say far worse not taking to account Irréversible's rape scene, but for what it's worth the tour through the Love Hotel absolutely trumps the former's night club scene—I've always wondered what those things would be like and now I've seen it through Noe's nightmarish psychedelic vision. Also Paz de la Huerta is sooooo hooooot.

[Ivan Drago]

I envy you guys for getting to see this on a big screen. I do have an AMC theater where I live and those get a lot more independent and foreign films (hell it got The Girl Who Played With Fire here), so there's a bit of hope...

[number8]

Oh right, I wrote a review. (http://www.justpressplay.net/movie-reviews/40-reviews/6974-enter-the-void.html)

[MacGuffin]

Oh right, I wrote a review. (http://www.justpressplay.net/movie-reviews/40-reviews/6974-enter-the-void.html)

Spot-on. Very well done review.

[MacGuffin]

This has stuck with me all day. I really want to see it again. My favorite scene? The five-minute real-time DMT trip sequence at the beginning where Noé cushions the scene with great Tokyo atmospherics: neon-lit signs in the background, a cluttered but homey apartment; the sounds of stores and clubs and video game arcades and loudspeakers. It's difficult for me to convey how unbelieve this moviegoing experience was for; I doubt I'll have one more memorable. Match Cut: believe me when I say that this is such unique cinema, it feels like something beyond that.

[B-side]

Y'know, I was settled into a nice state of anticipation for this. The kind of anticipation where I wouldn't be devastated if it weren't great, but you're pushing me...

[MacGuffin]

Y'know, I was settled into a nice state of anticipation for this. The kind of anticipation where I wouldn't be devastated if it weren't great, but you're pushing me...

I couldn't have been anticipating the movie anymore before I saw it and it exceeded my expectations. It really does feel like Inland Empire's Aphex Twin loving long-lost brother, and if you go in approaching it like that and interacting with it on the purely viscreal, emotional level it requires, then yeah, you'll love it. I'm not going to complain about the relatively thin social subtext or the amateurish approach to religion, because when all is said and done, those things basically feel irrelevant to me. The visual style is clearly "the elephant in the room" and it is beautiful, jolting, immersive and unforgettable.

[B-side]

I couldn't have been anticipating the movie anymore before I saw it and it exceeded my expectations. It really does feel like Inland Empire's Aphex Twin loving long-lost brother, and if you go in approaching it like that and interacting with it on the purely viscreal, emotional level it requires, then yeah, you'll love it. I'm not going to complain about the relatively thin social subtext or the amateurish approach to religion, because when all is said and done, those things basically feel irrelevant to me. The visual style is clearly "the elephant in the room" and it is beautiful, jolting, immersive and unforgettable.

That's pretty much been my mindset. I'm looking for a purely visceral experience. If the narrative is compelling, too, then so be it.:P

[MacGuffin]

If the narrative is compelling, too, then so be it.:P
The narrative is flawed, but certainly better than a lot of movies. But a lot of people are going to get bent out of shape because Noé is Noé. Just as Haneke is Haneke and von Trier is von Trier.

[B-side]

The narrative is flawed, but certainly better than a lot of movies. But a lot of people are going to get bent out of shape because Noé is Noé. Just as Haneke is Haneke and von Trier is von Trier.

Ah, well, no worries for me, then.

[megladon8]

After seeing the trailer I'm interested, but I don't think I could sit through 2.5 hours of that.

[MacGuffin]

After seeing the trailer I'm interested, but I don't think I could sit through 2.5 hours of that.

I don't think you'd like it to be honest.

[megladon8]

I don't think you'd like it to be honest.


Why?

I liked Irreversible.

[MacGuffin]

Why?

I liked Irreversible.

Because the movie is like the trailer for two hours and forty-one minutes. I can see you calling it self-indulgent or having another similar criticism.

[megladon8]

I'll give it a try at some point.

Who knows? :)

[MacGuffin]

I'll give it a try at some point.

Who knows? :)

Wasn't Irreversible one of your five worst movies you'd ever seen a while ago?

[megladon8]

Wasn't Irreversible one of your five worst movies you'd ever seen a while ago?


Hmm...no? Unless it was meant jokingly? Or maybe I was tired and thinking of something else?

I liked Irreversible...I just found it quite hard to watch at times.

[Ezee E]

Huh... So is it a shitty piece of gold, or a masterful piece of shit?

I' just surprised I haven't heard about the vagina cam.

I'm going to be a dissenter, but it's certainly not without merit.

[Derek]

I' just surprised I haven't heard about the vagina cam.

Why spoil the surprise? :lol:

[Ezee E]

Why spoil the surprise? :lol:
A friend of mine spoiled it for me.

I waited two plus hours to see it happen, thinking many a times that it was right around the corner. I burst out laughing when it finally occurred, while many others were appalled.

The old couple a few rows back were hilarious to listen to.

"THAT'S HIS SISTER!!!!"

[Milky Joe]

This has stuck with me all day. I really want to see it again. My favorite scene? The five-minute real-time DMT trip sequence at the beginning where Noé cushions the scene with great Tokyo atmospherics: neon-lit signs in the background, a cluttered but homey apartment; the sounds of stores and clubs and video game arcades and loudspeakers.It's difficult for me to convey how unbelieve this moviegoing experience was for; I doubt I'll have one more memorable. Match Cut: believe me when I say that this is such unique cinema, it feels like something beyond that.

*bursts out laughing*


OK, this movie's basically really fucking retarded and no amount of formal swagger can hide how juvenile & idiotic Noe's worldview is.

:pritch:

[Derek]

*bursts out laughing*

:pritch:

Your pompous dismissal is much appreciated as always. Not that most of us don't do this from time to time, but, you know, we also try to back our opinions by actually writing about films every once in a while. Just a tip if you're ever looking to reshape your image as someone with something substantive to say about film. But you seem comfortable within your little niche, so no pressure, bud.

[Milky Joe]

Thanks for the tip, but if I ever decide to reshape my image into someone with something substantive to say about film, I probably wouldn't use this film, because there is literally nothing substantive to be said about it beyond Boner's magnificent post.

If you'd like to attempt to convince me otherwise, however, I'd be glad to have a spirited discussion with you.

[Milky Joe]

OK, I genuinely feel bad for being so blatantly pompous and snide. I'm sorry about that MacGuffin. But your post was exactly the kind of response I was expecting people to have to this film, a film which I found to be, apropos of its title, completely void of anything resembling merit. It's utterly bankrupt, both intellectually and spiritually, and completely irresponsible to boot. It genuinely made me hate Noé as a person.

The opening credits were cool, though. Easily the best part.

[MacGuffin]

a film which I found to be, apropos of its title, completely void of anything resembling merit.

Aaaand no offense to you, but that's either/both hyperbolic and to some degree, objectively wrong. No merit at all? As for the film being intellectually and spiritually bankrupt, it's obviously at least doing something significant if it makes you hate Noé as a person. I appreciate the movie on a formal and aesthetic level—I couldn't write an essay on the film, but that's not necessarily because it isn't exactly thematically rigorous; it's because like a lot of music, it's something I just feel. For me, the images and sounds worked together to create an experience that was mind-bending and on par with the visceral assault of Inland Empire.

[Milky Joe]

Aaaand no offense to you, but that's either/both hyperbolic and to some degree, objectively wrong. No merit at all? As for the film being intellectually and spiritually bankrupt, it's obviously at least doing something significant if it makes you hate Noé as a person. I appreciate the movie on a formal and aesthetic level—I couldn't write an essay on the film, but that's not necessarily because it isn't exactly thematically rigorous; it's because like a lot of music, it's something I just feel. For me, the images and sounds worked together to create an experience that was mind-bending and on par with the visceral assault of Inland Empire.

Certainly no less hyperbolic and/or objectively wrong than to say that it's "beyond cinema," whatever that means. The difference between this and Inland Empire is that David Lynch is not trying to be profound; therefore he succeeds. Noé clearly is trying, which makes his failure all the more spectacular.

"Thematically rigorous" my foot. It's a complete mess. It has all the thematic sophistication of a half-smart 15-year old.

[MacGuffin]

Certainly no less hyperbolic and/or objectively wrong than to say that it's "beyond cinema," whatever that means. The difference between this and Inland Empire is that David Lynch is not trying to be profound; therefore he succeeds. Noé clearly is trying, which makes his failure all the more spectacular.

"Thematically rigorous" my foot. It's a complete mess. It has all the thematic sophistication of a half-smart 15-year old.

The movie worked in a way that no movie ever has before for me. I think Noé's contrasting of life versus death as well as real world versus spiritual world is stunning in how it is depicted in the utmost basic form (yes, I believe the amateurishness of the themes is subconsciously purposeful on Noé's part) and then visually represented in hyper-stylized grand visual spectacle form that echoes one of Noé's favorite films, 2001: A Space Odyssey but is appropriately captured in again--a very unique, very distinctive way that effectively transcends the dreamlike and becomes spiritual. It's also like a pinball machine when you consider the flashing neon city lights, quick movements, flying shots, strobe lights and all the city background noises.

[TripZone]

The difference between this and Inland Empire is that David Lynch is not trying to be profound; therefore he succeeds. Noé clearly is trying, which makes his failure all the more spectacular.

Support with evidence?

[Milky Joe]

Despite how much I hate that phrase (and all attempts to turn film criticism into science), I'll bite.

The film is like a Rosetta Stone of pseudo-profundity. It contains all of the most clichéd ideas that anyone who's moderately intelligent and only recently started experimenting with psychedelic drugs has had and then promptly abandoned. The Tibetan Book of the Dead? Check. Representing a DMT-trip with What the Bleep Do You Know?-esque levels of fractal cheese? Check. Mentioning the pseudo-fact that "your brain releases DMT when you die?" Check. Thus calling death "the ultimate trip"? Check. A character asking another character if they believe in reincarnation? Check. Overly simplistic, incredibly obvious Freudian themes thrown in for good measure? Check. In the process of all this, Noé forgot to include presumably far less interesting concepts, such as—I don't know—a single well-developed character, for one.

The aforementioned hypothetical person usually proceeds to grow up and realize that all of these ideas are in fact not nearly as profound as they seemed when they were thinking about it on mushrooms in their parents' basement. If they're really smart, they wake up the next morning, look at the page-and-a-half of barely-intelligible scrawl they find and come to the same realization. Apparently Noé never got there.

The fact that MacGuffin can sum up the film's thematic concerns by saying it "contrasts life versus death" and seriously believe that means anything says it all.

[MacGuffin]

It's a real shame you're too caught up with a film's "thematic concerns" to be able to take it in as a whole and embrace it as an experience. As I previously mentioned and you either chose not to read it or gave it your own meaning, the film is a epic representation of basic philosophical ideas onscreen. It's not a movie that's trying to be philosophically profound, it's a movie that's trying to reach you on a spiritual level with spectacle. It seems to me you've given the film false purpose and are judging it based on that.

[Milky Joe]

I went into the film expecting an experience. That's all anyone could talk about. I expected to be shown something I'd never seen before, but the film failed in every respect. It could have been a crazy-ass romp through the Tokyo club-scene, and maintained the manic, heart-pounding intensity of the opening credits (a film I'd love to see), but it wasn't and didn't. It could have simultaneously been a profound treatise on the meaning of the psychedelic experience, but it wasn't. It could have at the very least been visually appealing, but it wasn't. However the fact remains that it tried to be all of these things, and failed. As an "experience" I found it awfully boring.

So what am I left with? A bunch of high-school grade mumbo-jumbo. Requiem For a Dream with more garish neon and pretension, and far less psychological nuance. But I'm glad you liked it.

[Spinal]

Utterly devastating. Brutal, yet compassionate. It's a thrill to have the floor completely swept from under your feet. This one is going to haunt me.

[soitgoes...]

I just found out that the Bijou (my local art house) is going to be getting this. I'm ecstatic. I thought for sure I'd have to see this at home. Normally not a bad thing, but with a film like this...

[Derek]

Utterly devastating. Brutal, yet compassionate. It's a thrill to have the floor completely swept from under your feet. This one is going to haunt me.

:pritch:

Yup. One of the few recent films that must be seen in the theater.

[Spinal]

It's disappointing to see Noé's world view being dismissed as juvenile. This is raw human pain and sadness he's dealing with in this film. All that sex is there for a reason. His characters immerse themselves into this world of cheap pleasure in order to numb their senses against deep trauma. I thought the relationship between the brother and sister was quite beautifully drawn and affecting. You can laugh all you want about where Noé places the camera in that final sequence, but it is the perfect capper to the extraordinary journey we've taken. After all of the intimate moments we've shared with these characters, all of the emotion they've laid bare for us, why would he not allow us to experience the awe-inspiring wonder of where it all begins? I think that final sequence is magical. And I wish more filmmakers were this audacious.

[Spinal]

Yup. One of the few recent films that must be seen in the theater.

Yes. I absolutely made a point of not missing this one. Although I wish there were more people at my screening. Counting me, there were only four.

[soitgoes...]

Yes. I absolutely made a point of not missing this one. Although I wish there were more people at my screening. Counting me, there were only four.This makes me think I'll have a one week window to see this.

[Spinal]

This makes me think I'll have a one week window to see this.

Well, I did go to mid-day Wednesday screening, so perhaps that shouldn't be surprising. But I suspect more human energy in the room would enhance the experience.

[Raiders]

This is playing at the awesome West End Cinema in DC, but I don't know when I have the time for a 30 minute drive and a 20 minute Metro ride. I'm also skeptical of liking it, but if I see it I want it to be in the theater.

[number8]

Honestly, I wish they'd release this on IMAX.

[Boner M]

It's disappointing to see Noé's world view being dismissed as juvenile. This is raw human pain and sadness he's dealing with in this film. All that sex is there for a reason. His characters immerse themselves into this world of cheap pleasure in order to numb their senses against deep trauma.
It is juvenile, though. Raw human pain and sadness needs to rise above the level of conceit. As does 'sordid pleasure as a balm for trauma'... this, in and of itself, is not a novel insight. Noe's complete immersion in this world, and his adoption of rudimentary Freudian ideas in lieu of rounded human psychology suggests this 'cheap pleasure' is more real than the world of sober feeling that his characters escape from. Plus, the homophobia in the film, however brief, is inexcusable - a testament to how simplistic Noe's morality is. How convenient that the most spineless character is last seen sucking cock in the sex hotel at the end. Like, what a fag!

I too wish all filmmakers were as audacious as Noe is here. I just wish that audacity was connected to better ideas.

[Ezee E]

Wouldn't this be the ideal movie in 3D? I mean, especially at the end????

[Spinal]

It is juvenile, though. Raw human pain and sadness needs to rise above the level of conceit. As does 'sordid pleasure as a balm for trauma'... this, in and of itself, is not a novel insight. Noe's complete immersion in this world, and his adoption of rudimentary Freudian ideas in lieu of rounded human psychology suggests this 'cheap pleasure' is more real than the world of sober feeling that his characters escape from.

Someone who goes by the handle Boner has no business calling someone else juvenile.

But seriously ... the film would not benefit from rounded human psychology. Despite its subjective perspective, it's about human suffering writ large. I found profundity in the POV shift from within the central character to without. He is able review his life from the outside and see himself as a part of a process larger than himself. We may initially judge his character based on his drug use and assume that his fate is deserved. However, Noé does something extraordinary, which is to circle back and explore the misery at the root of the descent into oblivion and connect it directly to the suffering that is simply a part of being a human being. It is essentially a compassionate film that encourages humility in its audience.

The insights aren't novel, they're mythic. There's nothing wrong with that. In that way, it's like 2001, which was an obvious influence. That film doesn't have rounded human psychology either. But it observes humanity in an almost clinical fashion and inspires awe with how it contextualizes our place in the grand scheme of the universe. I would argue that this film works in much the same way.

[Spinal]

Your pic review is funny though.

[Boner M]

The insights aren't novel, they're mythic. There's nothing wrong with that. In that way, it's like 2001, which was an obvious influence. That film doesn't have rounded human psychology either. But it observes humanity in an almost clinical fashion and inspires awe with how it contextualizes our place in the grand scheme of the universe. I would argue that this film works in much the same way.
Very good points; the first I've read* to make me rethink my negative position on the film. I still think it's fundamentally immature in ways that are detrimental to its overall impact, but I admittedly never gave too much thought to the Olympian qualities that you allude to. I think we can all agree that the film would've benefited from a more expressive voice actor as the lead POV.

EDIT: There's also a really great article in the Sep/Oct Film Comment by Chris Norris (not online, sadly).

[Spinal]

Very good points; the first I've read* to make me rethink my negative position on the film. I still think it's fundamentally immature in ways that are detrimental to its overall impact, but I admittedly never gave too much thought to the Olympian qualities that you allude to. I think we can all agree that the film would've benefited from a more expressive voice actor as the lead POV.


Well, there's no getting around the fact that the director has a taste for the sordid. I mean I can justify what is perhaps his most gruesome image by saying that it is a direct reference to the Star Child from 2001, twisted to his own dark ends. But it's still a director rubbing our nose in it. Call it juvenile, immature, mischievous, sadistic, what you will. If he's immature, he's immature in a way that I am too, so I guess I don't mind.

[Philosophe_rouge]

I went into the film expecting an experience. That's all anyone could talk about. I expected to be shown something I'd never seen before, but the film failed in every respect. It could have been a crazy-ass romp through the Tokyo club-scene, and maintained the manic, heart-pounding intensity of the opening credits (a film I'd love to see), but it wasn't and didn't. It could have simultaneously been a profound treatise on the meaning of the psychedelic experience, but it wasn't. It could have at the very least been visually appealing, but it wasn't. However the fact remains that it tried to be all of these things, and failed. As an "experience" I found it awfully boring.

So what am I left with? A bunch of high-school grade mumbo-jumbo. Requiem For a Dream with more garish neon and pretension, and far less psychological nuance. But I'm glad you liked it.
More or less my my experience to a tee. I don't think I would have minded the somewhat silly judgments and relationships the film presents if it's visual style became anything more than what was presented in the first few minutes. Noe seems to try very hard to shock and engage, but I can't say either worked. Opening credits aside, there are very few moments in the film that are engaging at all. I found his complete abstract moments were his best, everything else was just an ugly, impenetrable surface level.

[Ezee E]

I still stand behind that part of it didn't work for me because of the lead actor's awful monotone voice.

I like Spinal's analysis of the movie more then the movie itself. I just didn't see what he saw.

[Spinal]

Hmmmm ... I thought he was intentionally a bit of a cypher in order to allow us to project ourselves into his situation. I barely remember his voice at all and I think that's a good thing.

[Llopin]

Kinda mixed on this. From a visual/narrative standpoint the film is mostly interesting; its theme isn't, per se, much intriguing. I'd say the first thirty minutes are my favourite part of the movie; the rest tries to be all pretentious and fragmented, and sometimes it doesn't work - the last twenty minutes are meandering, including the Love Hotel sequence (quite obvious) and the silly-ass ending (seriously?). Besides, it struggles to appear to be hard-boiled but is, after all, rather corny. However, its main fault is being painfully overlong; I saw the 160 minute version and I was flat-out bored at some parts. All those overhead shots of Tokyo end up being tiring, and many scenes are superfluous and unnecessary. I admire Noé's vision, but it feels overdone. I believe he could've treated this content (juvenile or not) with more grace and control.

Still, I'd recommend it.

[ciaoelor]

After the first hour or something I was hypnotized for the rest of the movie. I stopped thinking and just let the images and sounds envelop me. There was actually something soothing about the experience. As a matter of fact, I never want to watch another ordinary movie in a theater (or anywhere else) again. I'm so damn glad I was able to see this in a theater, at the new Coral Gables Art Cinema, which I will continue to support for as long as they show cinematic movies like this.

[TripZone]

There's a lot of "it tries to be [whatever] and fails" in this thread.

[Winston*]

I dreamed I saw this the other night for some reason. Didn't like it.

[Spinal]

I dreamed I saw this the other night for some reason. Didn't like it.

This is like the Minority Report of criticism.

[TripZone]

Dreamed...or dreamt?

[jamaul]

This, and Black Swan, are both on my list of films to really reflect on in the coming weeks. I want to watch both again so I can adequately collect my thoughts and come up with something intelligent to say. With Swan, I find myself eager to point out all of the film's influences and references as a point of praise, or in order to just get my thoughts across--but I know there is more to the film than just those aspects.

And with Enter the Void, I see a film even more influenced by other films, and other arts for that matter. It resonated with me as something of a pure A/V multimedia experience: it looked and felt like a film; it also felt a lot like an experimental work ... at the same time, I kinda felt like I was watching everything from metaphysical psychobabble filmed and acted very effectively in the first person (definitely beating any and every time I've had inebriated and/or stoned ponderings of the same sort with friends down in that ubiquitous 'parent's basement'), a feature-length version of the 2001:ASO Stargate sequence, a shit-long music video, first-person shooter, a trip to a rave hopped up on E, blow, alcohol and a variety of other uppers and downers making for an emotional rollercoaster, and aspects of Noe's previous film, Irreversible--a mash-up of all of these things at once.

Clunky? Yeah. Always consistent? Eh. Juvenile at times? Certainly. Pretentious? Occasionally, but never tediously.

And yet, I'm still trying to figure out why, at around the two hour mark, I found myself so overwhelmed with emotion, so deeply, deeply disturbed by this experience, so emotionally affected ... why I was inexplicably crying my eyes out after the film was over, and why I seemed to imagine the rest of my day as if I were seeing it from an overhead floating crane panning in ghostlike fluidity my every move. Haunting, devastating and a tremor to one's sensibilities, Noe's film was a provocative taste of a world that drew me in completely and spit me out sufficiently shaken. I want to pick it apart, as others have, but oddly enough I'm afraid the film will come back and haunt my dreams if I dare attempt to brush it off.

This is the damnedest thing I've seen in a loooong time.

[Raiders]

Starting to watch this and honestly, I can't even make it through the credits.

[Boner M]

Starting to watch this and honestly, I can't even make it through the credits.
What the fuck? The credits are objectively awesome.

[Raiders]

What the fuck? The credits are objectively awesome.

I'll start again after I take my seizure medicine. Don't worry.

[Boner M]

I'll start again after I take my seizure medicine. Don't worry.
I will say, do stick around so I can have you on the Anti-EtV bandwagon. It's lonely here. And I think Milky Joe just peed on the floor.

[transmogrifier]

I will say, do stick around so I can have you on the Anti-EtV bandwagon. It's lonely here. And I think Milky Joe just peed on the floor.

Hey, I nayed it, though it was a mild nay. It's not really about anything interesting, though it tries it's hardest to appear interesting throughout.

[Ezee E]

Yeah. There's a good amount of nay's. The yay's just happen to have it as their favorites.

[number8]

I've been marathoning a bunch of 2010 movies I'd missed in order to properly compile my top 10 and currently this remains unseated at #1.

[Raiders]

When early in the film a character gives a rather quick, facile explanation of the Tibetan Book of the Dead, I had no idea that the film was going to subsequently follow it like gospel. It's humorous in its own way, though it is also a filmmaker's extremely restless attempts to create a compelling film from a simplistic and downright silly narrative impetus. It is also very sadly repetitive, not only in its style but in some of its flashback sequences, showing us scenes two and three times; Noe trying to capture a fractured dream but failing to realize that his characters and his narrative aren't dynamic enough to make those scenes change in our mind, add new meaning or become differently relevant; ultimately he is simply filling out more time. As for the camera, Noe links it strictly to the floating spectre of the main character, but he must realize at some point, say the fifteenth time the camera floats between two locations, it becomes redundant and sadly starts to make the virtuosity seem mundane.

Nonetheless, Noe does manage to create an intermittently powerful view of tragedy and pain and there are some truly haunting moments I am not likely to quickly shake. In particular is a scene (a rare first-person POV flashback sequence) where Oscar watches his sister, bloodied and traumatized, scream in the back seat after their car accident which claimed their parents, her pained, agonizing wails literally sending shivers down my spine. It is a lucid, harrowing shot of tragedy that shames all the ridiculous swooping and grating, seizure-inducing strobe effects (the same effects ruined an earlier scene where we glance from above at Oscar's sister receiving the news, but there Noe bum-rushes the tragic and quickly overindulges and exits the scene--he has no problem lingering on the preceding sex for five minutes, but the crying gets about five seconds).

Noe smartly uses Tokyo's neon-saturated atmosphere to create an eerie, otherworldly glow to much of the film. I have read that a lot of natural lighting was used, and it is impressive in its effect. This unfortunately culminates in the ridiculous, over-the-top Love Hotel, a 10-minute orgy where we glance over all the film's characters engaged in various forms of sex, each glimpse replete with glowing sex organs signifying the impending ejaculation and chance at reincarnation. It is as silly and laughable as it sounds, and the final images wherein we get a nice view of the inner workings of penetration were the high-point of hilarity for me; gone was the pathos in that moment, replaced by a remarkable commitment to a skewed and immature vision.

Despite the pure experience of viewing this film, it ultimately is too full of its own half-baked nonsense to keep those isolated moments of greatness afloat. I admire its commitment and its intensely personal creation; Noe isn't half-assing his formal strengths and is certainly playing for keeps. But, I can't recommend the film nor am I likely to ever watch it again.

[soitgoes...]

I can't wait to see this. January 7th it comes to Eugene! It has been amazingly hard to not watch the BluRay I downloaded in anticipation of a theater viewing.

[endingcredits]

I found it formally interesting but way too half-baked in storyline. Also, too damned long and too much repetition. The credits, the screaming girl, and the "Love Hotel" were highlights.

[Ivan Drago]

Bah, I've tried watching this three times online but can't finish it. It needs to be seen in high-def.

[Ivan Drago]

Bah, I've tried watching this three times online but can't finish it. It needs to be seen in high-def.

Prayers answered! Coming to streaming on the 25th!!!

[soitgoes...]

Finally seeing this in 4 hours.

[eternity]

I love the film Noe was TRYING to make. The film he actually made is a frustrating dud.

[soitgoes...]

Disappointment of the year. The style, while initially intriguing, eventually drags the film down to standstill. All the energy of his previous films is lost here. Interesting ideas, and individually there are some stunning scenes.

[soitgoes...]

An interesting experiment in expectations was presented to me tonight. I saw two films, one I expected to give no less than a ***½, and the other was a throwaway film that I watched out of curiosity from the Tony Scott discussion that went on in the FDT last week. Enter the Void is the better film, but my reflections on it are harsher than Scott's film.

[Rowland]

I'm not sure how much the US theatrical cut differs from the 20+ minute longer cut that I watched, but for at least half the film Noé settles into a stupefyingly tedious groove during which I entertained myself by creating a game, scanning the frame for the next circular object the dead dude's consciousness would zoom into for another redundant portal transition. My favorite: "Oh no, he is NOT going to zoom into the dish with the aborted fetus... Aaaand there he goes, whee!"

[Derek]

My favorite: "Oh no, he is NOT going to zoom into the dish with the aborted fetus... Aaaand there he goes, whee!"

Best 2001 reference ever?

[balmakboor]

2 more days and I'll be seeing this on Instant Watch.

[elixir]

So is this the most divisive film from last year (or 2009, didn't realize it came out then...)?

I'm firmly placed in the hate camp.

[endingcredits]

I'm firmly placed in the hate camp.

Feel free to make it official in the 2010 New Release Thread.

[Ivan Drago]

Despite vaginacam, this was worth the 2 year wait. Fucking loved it.

[Russ]

Yeah, put me in the love camp.

[Spinal]

Despite vaginacam

I think it's easy to deride this shot, but I thought that whole final sequence was utterly breathtaking. Glad you liked it.

[elixir]

Can you guys explain why you love it on a purely personal/emotional/visceral level? I don't need you to defend its philosophy/intellectualness, but why did you respond to it?

I honestly don't get it at all, and I'm looking to see what you guys got out of it that I clearly didn't. :)

[Spinal]

Can you guys explain why you love it on a purely personal/emotional/visceral level? I don't need you to defend its philosophy/intellectualness, but why did you respond to it?

Page 4.

[elixir]

Also, I thought the acting was godawful. By everyone in the cast.

[elixir]

Page 4.

Okay, I appreciate that. I'm certain their are movies where it hits me and doesn't hit you and blah blah blah...such is the nature of taste. I always state obvious things, sorry.

Why do you think the ending is the "perfect capper" though? Why is that final sequence truly needed?

[MacGuffin]

[...]

Deleted, because I wanted to see it again to be sure. I'll get back to you on this within the next couple weeks probably if you're still interested. In short, I think the acting is fine. I think the acting is supposed to represent enhanced emotions, feelings, expressions and so on that may be apparent on certain forms of drugs. Or maybe not drugs explicitly, but I think the acting may be conducive to the fact that on a superficial level, the film plays out like a romp, as Milky Joe suggested earlier.

[Spinal]

Why do you think the ending is the "perfect capper" though? Why is that final sequence truly needed?

Isn't it obvious?

The whole film is about confronting the inevitability of oblivion. The characters live, experience pain without knowing why and numb themselves from that pain with a variety of activities, most of which are dangerous. After the central character's violent death in the beginning of the film, the final sequence is a re-birth. The cycle is starting all over again. Should we be optimistic or not? The baby crying in that final scene is one of the most chilling sounds I've heard in a film. Startling, haunting, filled with glorious ambiguity.

[elixir]

Isn't it obvious?

The whole film is about confronting the inevitability of oblivion. The characters live, experience pain without knowing why and numb themselves from that pain with a variety of activities, most of which are dangerous. After the central character's violent death in the beginning of the film, the final sequence is a re-birth. The cycle is starting all over again. Should we be optimistic or not? The baby crying in that final scene is one of the most chilling sounds I've heard in a film. Startling, haunting, filled with glorious ambiguity.

Just wanted to see what someone who enjoyed it thought.

I do appreciate something different and something audacious, because it is in some ways more interesting than a movie that might be more pleasant but just another mediocrity.

[Boner M]

Isn't it obvious?

The whole film is about confronting the inevitability of oblivion... After the central character's violent death in the beginning of the film, the final sequence is a re-birth.
To me, this is a testament to one of the film's greatest flaws; Noe's idea of 'oblivion' is awfully familiar.

[Ivan Drago]

Isn't it obvious?

The whole film is about confronting the inevitability of oblivion. The characters live, experience pain without knowing why and numb themselves from that pain with a variety of activities, most of which are dangerous. After the central character's violent death in the beginning of the film, the final sequence is a re-birth. The cycle is starting all over again. Should we be optimistic or not? The baby crying in that final scene is one of the most chilling sounds I've heard in a film. Startling, haunting, filled with glorious ambiguity.

That killed me. Another scene that freaked me out off the top of my head was:

When Oscar's spirit goes back to the aftermath of the car crash that killed Oscar and Linda's parents, and young Linda's screams are distorted.

Hell, the sound design for the whole film is great.

EDIT: By the way, the film wasn't as seizure inducing as I was led to believe. During the zooms into lamps, streetlights, etc, yes, but during the club scenes, the camera is so far from the strobe lights so that I didn't have a problem with it.

[Milky Joe]

To me, this is a testament to one of the film's greatest flaws; Noe's idea of 'oblivion' is awfully familiar.

Read: incoherent.

[balmakboor]

Just Instant Watched it.

I don't know what I think of Noe yet. I've seen this and Irreversible now and the guy sure likes sordid people in sordid places and loves to use some sort of rig -- probably of his own invention -- to make the camera always seem to be floating about more drunken and detached than his characters. It remains to be seen, but he could start skipping like a broken record really fast. One more dizzying homage to 2001: ASO and I'll throw up my hands.

But damn if his movies aren't fascinating, even dazzling, formal experiments. I loved every moment of this on a visual/technical level. I also found myself liking the characters, something I could barely say about his prior effort.

[Spinal]

The characters are sordid; but, I think it's easy to have compassion for the brother and sister at least, because we get to know them so inimately and witness the source of their pain. Their desire to numb themselves is understandable given the circumstances.

[balmakboor]

The characters are sordid; but, I think it's easy to have compassion for the brother and sister at least, because we get to know them so inimately and witness the source of their pain. Their desire to numb themselves is understandable given the circumstances.

Yes, I liked the brother and sister and the middle section of the film with the constant intercutting of them throughout their lives was my favorite aspect. This film actually doubled the number of likeable characters from one to two for me.

I also agree that the movie is mythic. I don't really understand what Irreversible was saying by referring to 2001, but this one at least make sense of the reference by also being a bold vision of death and re-birth.

[Ezee E]

Was watching this again. Same exact thoughts as before, only stronger on both ends. Brilliant craftsmanship, but the acting is so poor that it hurts the movie. This is why the camera remains on Paz during her sex scene, but puts her out of focus, and shortens her scene when she finds about her brother's death. Good move by Gaspar.

I'd say it improved overall, but it's just too long for its own good. And that last sequence is still a parody of itself.

[balmakboor]

Was watching this again. Same exact thoughts as before, only stronger on both ends. Brilliant craftsmanship, but the acting is so poor that it hurts the movie. This is why the camera remains on Paz during her sex scene, but puts her out of focus, and shortens her scene when she finds about her brother's death. Good move by Gaspar.

I'd say it improved overall, but it's just too long for its own good. And that last sequence is still a parody of itself.

Yes. I agree with all of this. I wasn't bothered or even so much aware of the performances being poor though. The camera is clearly the star here and the characters are just sort of there because they, you know, have to be.

[Spinal]

I thought Paz was great. Particularly love her line reading of "He's trying to fuck me."

[MacGuffin]

I thought Paz was great. Particularly love her line reading of "He's trying to fuck me."

She reminds me of Asia Arengto.

[endingcredits]

The characters are sordid; but, I think it's easy to have compassion for the brother and sister at least, because we get to know them so inimately and witness the source of their pain. Their desire to numb themselves is understandable given the circumstances.

I hated both of them.

[endingcredits]

The camera is clearly the star here and the characters are just sort of there because they, you know, have to be.

Didn't you just say that you liked the characters in your last post?

[Watashi]

My reaction to watching this film:

Ok.. these opening credits are awesome.
Please tell me this "blinking" affect isn't going to be there for the entire movie.
Paz de la Huerta is so hot
Woah. What the fuck?
Okay, this is starting to go somewhere
Hmmm... alright. We've seen this scene before.
Dude. Noe. I can see the fetus just fine from here.
WHAT THE FUCK NOE! I SAID I CAN SEE IT FINE FROM HERE!
This is a lot of sex.
Oh, I get it. You're fucking with me. You're actually fucking me.
It's... over?

[Kurosawa Fan]

Paz de la Huerta is so hot


Ugh. I don't get this at all. She may have a great body, but her face is verrrrrrrry unattractive.

[elixir]

Ugh. I don't get this at all. She may have a great body, but her face is verrrrrrrry unattractive.

Agreed. I really don't see it.

[Spinal]

One vote for Paz hotness.

[ledfloyd]

One vote for Paz hotness.
i'll chime in and offset your vote.

[endingcredits]

One vote for not-hotness to cancel Spinal's vote.

[soitgoes...]

Eh, I'd do her, but a good actress she is not.

[Spinal]

Match Cut has been so wrong about so much lately.

[Russ]

Eh, I'd do her, but a good actress she is not.
See, I don't think this is the type of film that requires good actors or actresses; it does, however, demand a strong presence and, for better or for worse, I think Paz delivers that in spades.

[elixir]

I don't get how bad acting good be spinned into a good thing here. It really was distracting and off-putting for me...not in a good way.

[Watashi]

Why are we talking about her acting?

[ledfloyd]

i actually thought she was significantly better in this than she usually is. aside from a scene or two i thought her performance was solid.

[elixir]

i actually thought she was significantly better in this than she usually is. aside from a scene or two i thought her performance was solid.

Well, I thought Oscar was MUCH worse. He was awful.

[Watashi]

The guy who played Oscar was pretty bad, but most drugheads I know have no range of emotion and always act like they are half-awake, so maybe thats the point?

[Russ]

I don't get how bad acting good be spinned into a good thing here. It really was distracting and off-putting for me...not in a good way.
Let me ask you: which would you sooner forgive, a poorly directed and visually impotent film, which happened to feature a really good performance by its lead actor/actress, or a sub-par performance by said actor/actress in an otherwise impressively constructed and directed vehicle which utilized groundbreaking visual flourishes? Not that the answer has anything to do with the discussion at hand. :)

To me, Paz is just fine for what she is called upon to provide.

[Raiders]

I didn't mind the acting... but I rarely do. I actually thought the guy who played Alex was pretty good.

[Ezee E]

Alex was the friend right? He played druggie appropriately, and was fine.

Paz has a great body for sure, but I'll agree with K-Fan on the face. And I just can't get past her bad acting. As mentioned, there's a reason a lot of her emotional scenes are off-camera, off focus, etc. Because... yikes. I don't see it Spinal.

And watching it the second time, with Spinal's opinion helps the movie, but I still prefer reading his own opinion to what I actually see on the movie. I wish they'd merge for me, but, I'm too frustrated by that final sequence.

[Milky Joe]

What exactly was groundbreaking about the visuals in this?

[Ezee E]

What exactly was groundbreaking about the visuals in this?
I don't know if groundbreaking is the right word, as Irreversible did everything beforehand. But the first drug scene, and the overall "point of view" is very well done still.

I realized on the second viewing... Why did they replay that entire death scene a second time? And how did I not notice the first time around?

[Russ]

What exactly was groundbreaking about the visuals in this?
Ok, maybe groundbreaking was a little hyperbolic. :) (a little)

Still, you can't deny that what Noe attempts here isn't original (a full length(+) film featuring an out-of-body experience-cam for most of its running time (not to mention the 2001-tribute intro). Compared to most other multiplex-friendly cinema, it's downright avant-garde. Combine that with the vision and technical craftmanship on display and yeah, for me, it's not only a little groundbreaking, it's greatly appreciated.

BTW, MJ, I lurve your Steve Little avatar.

[elixir]

I think I've said this before, but I really do appreciate the originality and that it was something different. It's too bad that I ultimately didn't like that end result.

[Ezee E]

I think I've said this before, but I really do appreciate the originality and that it was something different. It's too bad that I ultimately didn't like that end result.
Ditto.

[soitgoes...]

See, I don't think this is the type of film that requires good actors or actresses; it does, however, demand a strong presence and, for better or for worse, I think Paz delivers that in spades.
I was generalizing more than pointing to this particular film. Her acting, and the acting overall, isn't where this film failed for me.

[balmakboor]

Didn't you just say that you liked the characters in your last post?

Yeah and that probably sounds like a contradiction or something, but I found myself liking the characters and at the same time never asking myself if I thought the performances were good, bad, or otherwise. The performances were serving the purpose of the film and I was feeling empathy. It didn't even occur to me to ask for more.

[Milky Joe]

Still, you can't deny that what Noe attempts here isn't original (a full length(+) film featuring an out-of-body experience-cam for most of its running time (not to mention the 2001-tribute intro). Compared to most other multiplex-friendly cinema, it's downright avant-garde. Combine that with the vision and technical craftmanship on display and yeah, for me, it's not only a little groundbreaking, it's greatly appreciated.

I guess. My deeply 'meh' reaction to the film as a whole prevents me from feeling too strongly about any of this. Saying that it's good or original compared to other multiplex-friendly cinema isn't saying much. In fact, seeing as how I thought the film resolutely did not want anything to do with being compared to multiplex-friendly cinema, and in fact was trying its best to be 'avant-garde,' that's sort of a backhanded compliment!


BTW, MJ, I lurve your Steve Little avatar.

Thanks. :) I'm pretty proud of it.

[Spun Lepton]

I quite enjoyed it. Agree that it's too repetitive for its own good. Some of the long, lingering 2001-esque sequences started wearing out their welcome close to the end. Also, the ... erm ... INTERNAL CAMERA shot near the end -- you know the one -- was a little much for me. This could've been 2 hours and been just as effective.

Despite these complaints, I really liked it. I liked the hovering/floating camera for the extended flashback sequence. I didn't have any problem with the acting. I called the ending about 1/2-hour before the end and was disappointed that I'd called it so easily.

I don't know if it's something I could watch again, just because its pace is soooo languid, I'd probably fall asleep.

[Bosco B Thug]

It resonated with me as something of a pure A/V multimedia experience Yes.


Noe's film was a provocative taste of a world Yes, I appreciate Noe's love for capturing naturalistic atmospheres, and how he aims to evoke seedy voids of living, drugged stupor, deep despair, and warmth and happiness.


I love the film Noe was TRYING to make. The film he actually made is a frustrating dud. Yes. It was a surprising dud, because, shockingly, it gets really boring.


Noé settles into a stupefyingly tedious groove during which I entertained myself by creating a game, scanning the frame for the next circular object the dead dude's consciousness would zoom into for another redundant portal transition. Ha, yes yes yes. "Dead guy's consciousness" was so boring. I liked the stuff of his past, but the floating cam following the characters during the days after the incident has so little going for it. And circular objects... why now?

[megladon8]

My friend was telling me about this last night and I was wondering - how did this not get an X rating?

Some scenes he mentioned sounded...hrm...graphic.

[Ezee E]

My friend was telling me about this last night and I was wondering - how did this not get an X rating?

Some scenes he mentioned sounded...hrm...graphic.
It had no rating.

[megladon8]

It had no rating.


Ah, OK.

It's something I would like to see eventually. He quite enjoyed it, he said it had some of the most potent portrayals of drug use he's ever seen.

[Spun Lepton]

Re: The "Paz has an ugly face" commentary.

I wish I could find it again, but there was an image of Paz doing some promo for this movie (I think) and she looked all waxy and over-made-up, like she'd just come off a bender or something. You can't tell me that it wasn't typecasting for Enter the Void. :lol:

[Ezee E]

http://images.starpulse.com/news/media/Paz-De-La-Huerta-lc5.jpg

[ledfloyd]

jim jarmusch on the other hand, is a sexy man.

[Milky Joe]

Hahahah.

[Kurosawa Fan]

http://i216.photobucket.com/albums/cc107/bastardlybutta/bastardly-photos/album162/paz-de-la-huerta031701.jpg
http://dlisted.com/files/pazgorgeousasalways.jpg
http://dlisted.com/files/imagecache/photo-preview/files/galleries/ggspaz9.jpg


I will never understand when people say she's attractive. These are red carpet moments, not unflattering candid paparazzi grabs, and she looks hideous.

[Derek]

I will never understand when people say she's attractive. These are red carpet moments, not unflattering candid paparazzi grabs, and she looks hideous.

The only time she's ever looked hot is in films. I agree her publicity photos are, well, less than flattering, but come on...

She looks pretty sexy here:

http://kpnv.files.wordpress.com/2009/12/limits-of-control-1.png?w=420&h=263

http://kpnv.files.wordpress.com/2009/12/limits-of-control-2.png?w=420&h=263

[Kurosawa Fan]

Her nakedness is always a good distraction. I've always asserted that she has an incredible figure, but if the camera is on her face alone, no amount of makeup can make it appealing.

[Watashi]

She kinda looks like a weird twin sister of Juliette Lewis.

[Winston*]

I've always asserted that she has an incredible figure, but if the camera is on her face alone, no amount of makeup can make it appealing.
You have always asserted that.

[Derek]

You have always asserted that.

KF is nothing if not logically consistent with regards to his feelings on actresses face:body hotness ratio.

[Bosco B Thug]

Ha, The Limits of Control was the first thing I ever saw her in, so I was puzzled people thought she was unattractive when my impression was she looked like Isabelle Adjani in The Tenant.

But even in Enter the Void, there is a cuteness in her face, and I found her mostly attractive (and not-unattractive) in the film's "naturalistic" setting. Her face is a morpher, though, but maybe it's mostly the high-flash photographs.

[Kurosawa Fan]

My assertions are no joke!

[eternity]

She's weird looking, but she's willing to "go there". She's basically the new Chloe Sevigny.

[Boner M]

The one-woman butterface capital of the world.

[Milky Joe]

She's weird looking, but she's willing to "go there". She's basically the new Chloe Sevigny.

Except Chloe Sevigny is actually kind of attractive.

[ledfloyd]

Except Chloe Sevigny is actually kind of attractive.
and an incredibly talented actress.

[Spun Lepton]

AUGH!!! You found the image.

Hey, Paz, SMILE. You'd be surprised at how attractive it makes you!! And go easier on the make-up.

[MadMan]

I have yet to see a Noe film, but after viewing a trailer for this one and discovering yesterday that its on Netflix Instant Viewing, I'm convinced I must see it. I'll post thoughts later this week, as I'm hoping to make it to Enter the Void and also Exit Through the Gift Shop as well.

[number8]

Paz is pretty great, and hot.

Although my favorite acting of her is on Boardwalk Empire.

"Screaming?! We were FUCKING, Eddie! FUCK. KING."

[megladon8]

Gotta agree with KF here.

Beautiful body. Fugly face.

[Megiddo]

Gotta agree with KF here.

Beautiful body. Fugly face.

Brown paper bags are pretty cheap nowadays.

[D_Davis]

She's kind of weird looking - I can dig that.

[Russ]

She's kind of weird looking - I can dig that.


See, I don't think this is the type of film that requires good actors or actresses; it does, however, demand a strong presence and, for better or for worse, I think Paz delivers that in spades.

s'what I'm talkin' about.

[max314]

The kind of film that takes everything that's beautiful about life and brutally rapes it in front of you for the duration of its running time, which — in the case of Enter the Void — is considerable; the director's cut I watched was 155 minutes in length. What's worse is the persistent first/third person viewpoints that create a cognitive dissonance once the film is over, leaving you wondering if you're still watching the fucking thing.

It's like the The Tree of Life's chronically depressed, suicidal cousin. And that's a hell of a thing to be.

★★★★★

[Ezee E]

This might be one of the best film discussion threads in Match Cut history.

Watched it out of curiosity again, and the credits thread brought it up again. I liked it more then the first two times, but for the experience of it all. The flaws remain, but I'm overlooking them more and more because of the hypnotic direction.

Gaspar, announce your next project please.

[Skitch]

She kinda looks like a weird twin sister of Juliette Lewis.

Two years later, I'm here to say that was the first thought that entered my head as well.