Enter the Void

So what could I add to what has been stated in the other reviews? Yes, 'Enter the Void' is definitely a trippy mindbuster, and as such anyone who requires story or frames to enjoy a film should give it a miss. Yes, the visuals are eye-popping and the ubiquitous stroboscope effects may cause severe nausea - I watched it on BR and couldn't help but thinking what an advantage home entertainment can be over cinema exposure. This is a film which may be best enjoyed alone, somewhat stoned or drunk, and very late at night. And the pause button is definitely a life-saver.

I can sympathize with those who felt tormented by the epic runtime and disparity between the first and second half of the film: the former is sort of a 'last film' of the protagonist Victor retelling his life, and therefore makes sense plot-wise, the latter is a meandering flow representing his attachment to his sister. It is a bit unfair to discard the film for this reason, though, because the dialogue between Victor and his best friend Alex in the beginning hints at what the nature and culmination of this attachment will be. The interspersed aerial shots of an increasingly CG-rendered Tokyo may actually put this transition into question - this could all very well be part of Victor's 'death trip'.

What I really liked about 'Enter the Void' is the setting, for I have lived in Tokyo myself for three years. The area where the story takes place (judging from where the CG puts the Tokyo Tower) should be Roppongi, which is an expat and night club haven; while the CG makes the place appear a bit gaudy, it is indeed populated by a disproportionate number of drop-outs and sleazy bees, and I've always wondered why there's no film about Roppongi yet - contemporary Tokyo is mostly condensed to the Yakuza backdrop of Kabukichô or the juvenile epicenter of Shibuya. So on that note, I appreciate a film about the expat world, as weird and dysfunctional as it may be.

'Enter the Void' pushes the gates of what film can visually do visually wide open, and therefore shouldn't be dismissed by any cinephile. But your viewing conditions will be crucial to whether you will love this film or hate it.

One thing's for sure, you won't leave Gaspar Noé's "Enter the Void" with comparisons ready. More than likely, you won't want to think about it at all. Over two and a quarter hours, the film hijacks your consciousness like a potent hallucinogen, and leaves you feeling burnt out and brain-fried on the other end.

Is it worth the trip? Yes, with an asterisk. After all, the opportunity to see something this flagrantly original comes but once in a blue moon, yet it isn't the sort of experience many will enjoy having. "Enter the Void" begins with a strobing title sequence that explodes into a first person account of drugs and death in Tokyo; it ought to come with a seizure warning. Compounding matters, almost every scene is designed to look like one continuous shot, with the camera being placed either behind our protagonist Oscar's head, or behind his eyelids. As if the pulsating neon lights weren't enough, we're also subjected to the split-second blackouts of Oscar blinking.

Visually, "Enter the Void" is unlike anything I've ever seen, but it sure ain't perfect. The problem, bluntly, is its amorphous, front-heavy structure. The first half plays out conventionally enough, beginning with what we assume is the end, and playing flashback catch up to contextualize the subsequent events. We arrive back in the present to neatly tie the knot, only to discover that Noé isn't remotely close to finished telling his story.

Where he takes "Enter the Void" in its ethereal second half is actually pretty fascinating, conceptually. However, it feels like an entirely different film. Noé floats aimlessly back and forth across Neo-Tokyo (to support the 'one shot' aesthetic, he rarely cuts directly from one location to another, often necessitating that the camera move through walls and entire buildings). The film really wears its premise thin during this overlong stint, though the last twenty minutes mostly redeem it.

The conclusion is a little predictable given that the characters seem to be arbitrarily engrossed by the Tibetan Book of the Dead, but it works because it boils "Enter the Void" down to its visual core. Somewhere along the way, the lines of the narrative are obliterated and Noé takes a hypnotically beautiful and bizarre psychosexual detour that bridges the gap to his ending nicely.

In retrospect, it's easy to remember the curious power of its final moments and marginalize the boredom that divides it from the first, much stronger hour. The film would almost certainly benefit from a second viewing, but I'm still not entirely sure that I would ever grant it one. I seriously question how Noé and his editor could stand to watch and assemble this film all day every day, because even their 137-minute finished product is a workout for the eyes. God help us if it were released in 3D.

But for better or worse, eyestrain is part of the experience, and "Enter the Void" is more an incomparable experience than a great film. It's a shame that the vast majority of its potential audience will never even have the opportunity to see it projected, as I can only imagine home video will diminish its psychedelic impact.

The best recommendation I can make is that if, like me, you go out of your way to see distinctly different films, you'll get your money's worth with "Enter the Void." Objectively, it's hard to deny the incredible creative scope and visual audacity on display, but it's also hard not to wish the whole thing were just a wee bit more succinct.

It ain't perfect, but "Enter the Void" is original, and there's no undervaluing that. Hell, I'll try anything once.

I attended the International Premiere of "Enter the Void" at the 2009 Toronto International Film Festival. Fans of director Gaspar Noé, whose film "Irreversible" created a significant following, will not be disappointed. At two and a half hours long, this film is definitely not for everyone. But I knew that going in and got exactly what I'd hoped for and more. It's trippy, dreamy, and mesmerizing and left me shaking my head in wonder many times. Startling and risky performances punctuate the dazzling visuals. The biggest surprise for me: "Enter the Void" has much more of a narrative than I was expecting. I was prepared for a cinematic acid trip, which I got, but there is an actual storyline which threads through the experimental camera-work and effects which are at the heart of the film. I highly recommend this movie but with qualifications, though. There is a great deal of drug use and some explicit sex but the film is compelling.

In a nutshell, Gaspar Noe's often exasperating but always visionary Enter the Void follows a man on his journey from his last hours on earth, through his death and his journey into the afterlife. The first twenty minutes or so follows Oscar as he takes a hit of DMT (a very potent hallucinogen) and goes on a visually arresting, if slightly over-long trip. He then leaves his house to give his friend a stash of drugs he owes him only to be chased and shot by police when he gets there. From there, his death and afterlife mirrors the philosophies behind the Tibetan Book of the Dead which theorises (I'm sure I'm putting this very crudely) that one's soul floats around, watching the world without them until they figure out how to leave their old life behind and move on. To recommend this film to audiences is perhaps a wrong turn, as it is bound to strike most as indulgent, immoral, needlessly vulgar and uncomfortable (particularly in Oscar's tendency to watch his sister having sex whenever possible). However, with suitably forewarning, this is a film that any self-respecting cinephile should make a point of seeing, and especially on the big screen.

Noe proved with Irreversible that he was a technical genius and that his eye for original visuals knows no bounds. He also proved that he wasn't afraid to shock his audience and has quite the nasty streak running through his stories. In both visual content and shock factor, Irreversible was merely a precursor to his magnum opus Enter the Void. With an endless stream of nasty images and depressingly dead-eyed unpleasantness, it is difficult to feel anything for any of the characters, but none of this dampens the impact of Noe's probing, soaring, spectral camera as it floats in and out of lives and deaths. I don't know if it has ever been done before but the camera-as-spirit conceit is highly effective and one which puts a very interesting moral spin on the voyeurism of this film. Noe takes voyeurism to extreme, as Oscar's spirit jumps in and out of bodies in often very unusual and even shocking circumstances.

The trouble with Enter the Void is that it is difficult sometimes to know whether to laugh or be shocked. Some of the content is pretty outrageous and even quite silly. However, for every roll of the eyes, there is a gasp of astonishment in terms of the intensity of the cinematic experience. Having now seen this film twice (it premiered at JDIFF 2010 in February), I must say I was pleased to see some superfluous scenes towards the end cut out, giving the film a somewhat more streamlined effect.

Your tolerance for Noe's self-indulgence will most likely decide your level of enjoyment of this, a film I imagine will very much divide audiences, but it is at the very least a visual milestone that should be seen on as big a screen as possible (though somehow I can't see this one gracing Screen 1 in the Savoy anytime soon). A flawed piece, but one flooded with moments of genius.

Saw this at the Melbourne International Film Festival. Whilst I didn't enjoy Noe's first film I Stand Alone, I loved Irreversible.

There is lots to like about ETV and much to dislike as well. An hour into the film and I would have given it perhaps an eight or nine but by the end of the film I was frustrated. Why? Noe just can't help himself and you get the feeling he either didn't know how to end the film or simply just wanted to be shocking for the sake of it.

Visually, I couldn't help but be impressed. Some amazing shots, lighting (strobe) and editing techniques. Noe also mixes up the story well as he did in Irreversible. You are not spoon fed the story and I love the way he told the back story of the two leads.

Plenty of people walked out at the screening after the hour and forty minute mark and I couldn't blame them. Probably not because they were shocked but just bored and frustrated. Noe pads this out and it is such a shame as overall it ruined the film as a whole.

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.

Hard to fault Noe for his creativity, energy and style and refusal to follow norms in terms of narrative structure etc. Still, I wish a friend or colleague had tapped him on the shoulder or given him some constructive criticism about the last half of the film.

I can only imagine how much footage Noe might add into a Directors Cut - Lord help us. Perhaps he could learn some lessons from this and streamline his storytelling and not feel the need to bludgeon the audience just for the sake of it.