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If asked whether cinema is a visceral experience or a narrative medium, ideally I would answer "both," but one answer is as good as the other. Enter the Void is, not surprisingly, a cathartic visceral experience, which should be expected from a visually uncompromising filmmaker like Gaspar Noé, who eight years ago spurred disturbed discussions with his film Irreversible.

Perfecting the techniques he first made use on that film, while expanding the limits of what he dares to show on camera, Noé delivers a standard-bending film about life, death and what comes after; although his vision of the afterlife is occupied with his primal obsessions in this life: sex, drugs and strobe lights.

Supposedly based loosely on the Tibetan Book of the Dead (although it's more like it references said book as a mean to explain itself), Enter the Void dons the gimmick of a first-person perspective. The role of Oscar,...