Enter the Void (2009) Poster

Enter the Void (2009)

  • Rate: 7.2/10 total 14,344 votes 
  • Genre: Drama | Fantasy
  • Release Date: 5 May 2010 (France)
  • Runtime: 161 min | UK:142 min
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Enter the Void (2009)

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  • IMDb page: Enter the Void (2009)
  • Rate: 7.2/10 total 14,344 votes 
  • Genre: Drama | Fantasy
  • Release Date: 5 May 2010 (France)
  • Runtime: 161 min | UK:142 min
  • Filming Location: Montréal, Québec, Canada
  • Director: Gaspar Noé
  • Stars: Nathaniel Brown, Paz de la Huerta and Cyril Roy
  • Original Music By: Thomas Bangalter   
  • Soundtrack: Pipe Dreams
  • Sound Mix: Dolby Digital | DTS
  • Plot Keyword: Flashback | Ghost | Police | Hallucination | Stripper

Writing Credits By:

  • Gaspar Noé (writer)
  • Lucile Hadzihalilovic (with the help of)

Known Trivia

  • Gaspar Noé describes his movie as a “Psychedelic Melodrama”.
  • During the Cannes Film Festival 2008, the distributor Wild Bunch presented the first teaser-trailers of “Enter The Void”, one year before the film was shown in competition 2009 at this Festival. The press book contains, beside the usual synopsis a note of Gaspar Noé. This director’s note begins with a quote from Steven Spielberg: “Making a film is difficult, but making a great film is an almost impossible task.”
  • The film’s world premiere was near the end of the Cannes Film Festival 2009 because the film was not finished at this time. Around 50 graphic artists were working on finishing the film. The running time of this festival cut was 163 minutes. Because of the tight schedule, the film was screened without opening or closing credits. The film started with “Enter” and ended with “The Void.”
  • After the Cannes Film Festival the post-production continued. Sensory, visual and auditory elements were accentuated. Gaspar Noé edited out 4 minutes of the film and added opening credits (about 2 minutes).
  • 4 months after the world premiere in Cannes – the film, still not completely finished, was presented a second time at the Toronto Film Festival in September 2009. Close after this festival, the film was shown at several international film festivals – in Cataluña, London (both in October 2009), Stockholm (November 2009) and Tallinn (December 2009)
  • The exact running time at the BFI London Film Festival was 161 minutes. When the film was theatrical released in France on 5th of May 2010, the running time was approximately 154 minutes (official press book). It’s clear that Gaspar Noé made some further minor changes: for example the opening credits at BFI London Film Festival were slightly different in its typography and the music from “LFO-Freak” wasn’t used there either.
  • Post-production continued till the end of the year 2009.
  • The final, definitive version was presented for the first time at the Sundance Film Festival, January 2010.
  • Gaspar Noé planned Enter the Void over a period of 15 years – before his short film Carne. He was around 23 years old, when he saw Robert Montgomery’s Lady in the Lake on drugs. The film is shot in subjective camera, entirely from the point of view of the main character. For Enter the Void, Noé uses a subjective camera in the same manner. The main character Oscar is seen just once while the character is alive (in a mirror.)
  • Gaspar Noé was inspired by the famous “star gate” sequence in Stanley Kubrick’s 2001: A Space Odyssey. For creating the special trippy atmosphere, the Norwegian VJ artist Glennwiz (Glenn Jacobsen) was contacted for use of one of his videos.

Goofs: Crew or equipment visible: During the first sequence in the "Sex, Money, Power" strip club, the camera and jib/crane are visible in the reflection of the platform the dancers are on.

Plot: A drug dealer becomes interested in death and re-incarnation after reading "The Tibetan Book of the Dead". Suddenly dead, his soul floats though Tokyo observing the dramas of his friends and foes. An oath determines his next step 'as a soul'. Full summary »  »

Story: Tokyo's nasty underside, seen primarily through the eyes of Oscar, a heavy drug user, whose sister Linda is a stripper. Oscar also has flashbacks to his childhood when trauma upends the siblings. Oscar's drug-fed hallucinations alter Tokyo's already-disconcerting nights, and after the police shoot him, he can float above and look down: on his sister's sorrow, on the rooms of a love hotel, and on life at even a molecular level. The spectrum's colors can be beautiful; it's people's colorless lives that can be ugly. And what of afterlife, is there more than a void?Written by <jhailey@hotmail.com>  

Synopsis

Synopsis: After living in Japan for some time and finding employment as a drug dealer, a brother sends for his sister to move Japan and live with him. With a story out of sequence, this film shows the brother and sister in their intimate moments. The experience is jarring at times and blissful at others. The setting is the Japanese redlight district of the very near future. The sister gets involved with sex and drugs and the brother lives dangerously. With their parents gone from a horrible car crash (seen more than once), all these two really have is each other in an exploitive world. The brother and sister associate with many deceptive people and the reveal of the deceiver’s true nature and actual motives is constantly surprising. It is the view from the otherworldly that makes this a thrilling story. From their childhood to recent events, this film builds with the significant facts. Within the tenets of a foreshadowed guide to the experiences after death, these young adult sibilings keep their pact not to leave the other.

 

FullCast & Crew

Produced By:

  • Philippe Bober known as associate producer
  • Pierre Buffin known as producer
  • Brahim Chioua known as producer
  • Valerio De Paolis known as associate producer
  • Olivier Delbosc known as producer
  • Suzanne Girard known as line producer
  • Peter Hermann known as producer: Germany, Essential Filmproduktion
  • Nicolas Leclercq known as associate producer
  • Vincent Maraval known as producer
  • Susanne Marian known as producer: Germany, Essential Filmproduktion
  • Marc Missonnier known as producer
  • Gaspar Noé known as associate producer
  • Georgina Pope known as line producer
  • Olivier Théry-Lapiney known as line producer

FullCast & Crew:

  • Paz de la Huerta known as Linda
  • Nathaniel Brown known as Oscar
  • Cyril Roy known as Alex
  • Olly Alexander known as Victor
  • Masato Tanno known as Mario
  • Ed Spear known as Bruno
  • Emily Alyn Lind known as Little Linda
  • Jesse Kuhn known as Little Oscar
  • Nobu Imai known as Tito
  • Sakiko Fukuhara known as Saki
  • Janice Béliveau-Sicotte known as Mother (as Janice Sicotte-Béliveau)
  • Sara Stockbridge known as Suzy (as Sarah Stockbridge)
  • Stuart Miller known as Victor's Father
  • Emi Takeuchi known as Carol (as Yemi)
  • Rumiko Kimishima known as Rumi
  • Akira Kuzuki known as Techno Club Girl
  • Sayuki Nakamura known as Techno Club Girl
  • Kaori Nakamura known as Techno Club Girl
  • Naoko Hirosawa known as Techno Club Girl
  • Kenji Isomura known as Strip Club Manager
  • Akira known as Stripper
  • Anna known as Stripper
  • Marie known as Stripper
  • Rico known as Stripper
  • Risa known as Stripper
  • Ryo known as Stripper
  • Yuri known as Stripper
  • Sandra known as Stripper
  • Milton James known as Strip Club Bouncer
  • Hideomi Nagahama known as Bilingual Officer
  • Takaharu Hachiya known as Bilingual Officer
  • Toshio Hanaoka known as Bilingual Officer
  • Kazuhiro Nakanishi known as Bilingual Officer
  • Adrien Ledanois known as Bruno's Friend
  • Keiji Suzuki known as Bruno's Friend
  • Simon Chamberland known as Father
  • Joan Heithfield known as Grandmother
  • Kenneth Heathfield known as Grandfather
  • Jessica De Marco known as Social Worker
  • Lucas Sirois known as Oscar – 2 years old
  • Ewan Widgeinton known as Oscar – 2 years old
  • Alexandre Bergeron known as Oscar – Baby
  • Mackenzie Falcombridge known as Linda – Baby
  • Federico Aletta known as Club Customer (uncredited)
  • Sayuki Matsumoto known as (uncredited)
  • Gaspar Noé known as Man in nightclub (uncredited)
  • Edward L. Papazian known as Customer in Dance Club (uncredited)

..

 

Supporting Department

Makeup Department:
  • Linda Gordon known as makeup artist: Canada
  • Tomomi Higuchi known as makeup artist: Japan
  • Félix Larivière known as makeup artist: Canada

Art Department:

  • Genevieve Allard known as swing gang: Canada
  • Marie-Eve Berube known as swing gang: Canada
  • Veronique Bouchard-Blondeau known as swing gang: Canada
  • Marc Caro known as art supervisor
  • Catherina Chamberland known as set dresser: Canada (as Caterina Chamberland)
  • Luis Felipe known as artist: Alex paintings
  • Yves Fontigny known as set props: Canada
  • Yoko Fukao known as assistant props: Japan
  • Joseph Gagné known as assistant art director: Canada (as Joseph Gagne)
  • Martin Gelineau known as swing gang: Canada
  • Hideyuki Handa known as assistant set decorator: Japan
  • Genevieve Herbert known as assistant set dresser: Canada
  • Tamotsu Hoshikawa known as diorama maker: Japan
  • Andrew Houston known as swing gang: Japan
  • Ayako Imoto known as property master: Japan
  • Tom Kan known as typography designer
  • Hiromi Kasuya known as art assistant: Japan
  • Shunji Kubota known as assistant set decorator: Japan
  • Susan C. MacQuarrie known as set decorator: Canada (as Susan MacQuarriue)
  • Michel-Pierre Morin known as swing gang: Canada
  • Gaspar Noé known as artist: Alex paintings
  • Keisuke Sakurai known as assistant set decorator: Japan
  • Louisa Schabas known as set decorator assistant: Canada
  • Asuka Sugiyama known as art department coordinator: Canada
  • Hiromi Takeda known as art assistant: Japan
  • Masanori Takeuchi known as set decorator: Japan
  • Ryoko Ushikoshi known as art assistant: Japan
  • Daichi Watanabe known as swing gang: Japan

..

 

Company

Production Companies:

  • Fidélité Films (co-production)
  • Wild Bunch (co-production)
  • BUF (co-production)
  • Les Cinémas de la Zone (associate production)
  • Essential Filmproduktion GmbH (associate production)
  • BIM Distribuzione (associate production)
  • Paranoid Films (associate production)
  • Eurimages (support)
  • Filmförderungsanstalt (FFA) (support)
  • Canal+ (participation)
  • Orange Cinéma Séries (participation)
  • Filmarto (executive production)
  • Ministère de la Culture et de la Communication (support)

Other Companies:

  • Atha Consulting  business and legal affairs: music
  • Dolby Laboratories  sound mix
  • Fincannon Agency  casting director: USA
  • Inoue Kogei  props: Japan
  • Jackson  sound mix studio (as JacksOn)
  • Japan Airlines  travel agency
  • Kodak Japan  film stock: Japan
  • MTO  production vehicles: Japan
  • Mass Espress  customs broker: Japan
  • Rome Voyages  travel agency
  • Rubini & Associés  insurance (as Rubini & Associes)
  • Sonetrans  conveyor
  • TSF  camera equipment
  • Takatsu Soshoku  props: Japan
  • Taylor Casting  casting director: USA
  • The Tanabe Agency  insurance: Japan (as Tanabe Agency)
  • Thibodeau & Latendresse  auditors: Canada
  • Toho Built  construction: Japan
  • Toho Built  studio: Japan
  • Toho Eizo Bijutsu  construction: Japan
  • Toho Studios  studio: Japan (as Toho Studio)
  • Total Casting  casting: Canada
  • Yelema Communication  publicity: France (as Yelena Communication)

Distributors:

  • Boid (2010) (Japan) (theatrical)
  • Cinema Mondo (2010) (Finland) (theatrical)
  • Cinéart (2010) (Belgium) (theatrical)
  • Cinéart (2010) (Netherlands) (theatrical)
  • Comstock Group (2010) (Japan) (theatrical)
  • E1 Films Canada (2010) (Canada) (theatrical)
  • IFC Films (2010) (USA) (theatrical)
  • Magyarhangya (2010) (Hungary) (theatrical)
  • Njutafilms (2011) (Sweden) (theatrical)
  • Tornado Film (2010) (Japan) (theatrical) (in association with)
  • Trinity Filmed Entertainment (2010) (UK) (theatrical)
  • Wild Bunch Distribution (2010) (France) (theatrical)
  • BIM Distribuzione (2009) (Italy) (all media)
  • Frenetic Films (2010) (Switzerland) (all media)
  • Lanterna de Pedra Filmes (2012) (Portugal) (all media)
  • MPI Media Group (2011) (USA) (DVD)
  • MPI Media Group (2011) (USA) (DVD) (Blu-ray)
  • Transmission Films (2011) (Australia) (DVD)

..

 

Other Stuff

Special Effects:

  • BUF (digital visual effects)
  • Ohira Tokusho Koka (special effects: Japan)
  • Griffith (special effects: Japan)
  • Big Shot (special effects: Japan)
  • Make-Up Dimensions (special body maker)

Visual Effects by:

  • Xavier Allard known as lead cg artist
  • Pierre Alran known as digital artist: BUF
  • François-Xavier Aubague known as production team: BUF (as Francois-Xavier Aubague)
  • Julien Aullas known as lead cg artist
  • Frederic Bajou known as digital artist: BUF
  • Vincent Batoufflet known as system administrator: BUF
  • Xavier Bec known as research and development: BUF
  • Christophe Bernard known as visual effects video operator: BUF
  • Anne-Sophie Bertrand known as lead cg artist
  • Jonathan Bonte known as digital artist: BUF
  • Stephane Bourdageau known as digital artist: BUF
  • Pierre Buffin known as visual effects art director: BUF
  • Julien Buisseret known as lead cg artist: BUF
  • Isabelle Capgras known as visual effects editor: BUF
  • Jean Carlier known as digital artist: BUF
  • Fabien Charbonnier known as system administrator: BUF
  • Florent Chedreau known as visual effects video operator: BUF
  • Jonathan Cohen known as digital artist: BUF
  • Sebastien Corne known as lead cg artist: BUF
  • Yann De Cadoudal known as assistant to visual effects supervisor
  • Yann De Cadoudal known as on set visual effects supervisor: BUF
  • Damien Delaunay known as digital artist: BUF
  • Damien Delrue known as digital artist: BUF
  • Nicolas Delval known as visual effects producer
  • Thomas Devorsine known as lead cg artist: BUF
  • Lionel Di Scala known as digital artist: BUF
  • Carla Diamond known as visual effects coordinator: BUF
  • Pierre Fauquembergue known as system administrator: BUF
  • Nicolas Gauthier known as digital artist: BUF
  • Sylvain Germain known as research and development: BUF
  • Yoel Godo known as lead cg artist: BUF
  • Stephanie Goix known as research and development: BUF
  • Arnaud Grelaud known as digital artist: BUF
  • Florian Grolier known as in-out/render technician: BUF
  • Maxime Guillet known as system administrator: BUF
  • Rami Hage known as digital artist: BUF (as Ramy Hage)
  • Michael Haussmann known as digital artist: BUF
  • Michael Havart known as digital artist: BUF
  • Glenn Jacobsen known as psychedelic effects on tv (as Glennwiz)
  • Anne-Gaelle Jolly known as research and development: BUF
  • Jean-Louis Kalifa known as lead cg artist: BUF
  • Thien Co Pham Ke known as digital artist: BUF
  • Nicolas Labbe known as in-out/render technician: BUF
  • Anaïs Lacoste known as digital artist: BUF
  • Jonathan Lagache known as flame artist: BUF
  • Fabrice Lagayette known as lead cg artist: BUF
  • Marc Lamorille known as digital artist: BUF
  • Delphine Lasserre known as visual effects coordinator: BUF
  • Bastien Laurent known as lead cg artist
  • Joachim Loubeau known as in-out/render technician: BUF
  • Olivier Lourry known as lead cg artist: BUF
  • Denis Marco known as digital artist: BUF
  • Christophe Moreau known as lead cg artist: BUF
  • Mélanie Moulin known as visual effects editor assistant: BUF
  • Jean-Louis Nikiema known as in-out/render technician: BUF (as Jean Louis Nikiema)
  • Geoffrey Niquet known as visual effects supervisor
  • Marie-Catherine Osmy known as digital artist: BUF
  • Loris Paillier known as lead cg artist
  • Loris Paillier known as on set visual effects supervisor: BUF
  • Guillaume Palegie known as digital artist: BUF
  • Jerome Pesnel known as digital artist: editing team
  • Laurent Pierrat known as in-out/render technician: BUF
  • Rémi Pierre known as digital artist: BUF (as Remi Pierre)
  • Louis-Daniel Poulin known as digital artist: BUF
  • Olivier Prigent known as lead cg artist: BUF
  • Alice Pépujol known as digital artist: BUF (as Alice Pepujol)
  • Clement Rambach known as research and development: BUF
  • Julien Rancoeur known as digital artist: editing team
  • Katharine Ratnoff known as production team: BUF
  • Martin Reneleau known as digital artist: BUF
  • Nolwenn Rimbault known as lead cg artist: BUF
  • Jeremy Robert known as lead cg artist: BUF
  • Kenny Rosset known as digital artist: BUF
  • Hélène Saint-Riquier known as visual effects coordinator: BUF (as Helene Saint-Riquier)
  • Jerome Samson known as in-out/render lead technician: BUF
  • Julien Tagodoe known as in-out/render technician: BUF
  • Julien Taton known as digital artist: BUF
  • David Tomaszewski known as digital artist: editing team
  • Arnaud Trouvé known as software development: BUF
  • Edouard Valton known as production team: BUF
  • Fabien Vantroys known as digital artist: editing team
  • Christophe Vazquez known as digital artist: BUF
  • David Verbeke known as lead cg artist: BUF
  • Christophe Verspieren known as research and development: BUF
  • Julie Verweij known as visual effects coordinator: BUF
  • Dominique Vidal known as lead cg artist: BUF
  • Jocelyn Vincent known as in-out/render technician: BUF
  • Stephane Vogel known as digital artist: BUF
  • Ramy Zaouai known as in-out/render technician: BUF
  • Murielle Chevalley known as digital effects artist: BUF (uncredited)
  • Mickael Girod known as digital effects artist (uncredited)
  • Cedric Le Dru known as digital artist: BUF (uncredited)
  • Arthur Lemaitre known as digital artist: BUF (uncredited)
  • Simon Magnan known as digital artist (uncredited)
  • Pierrick Mahieu known as visual effects artist (uncredited)
  • Damien Stumpf known as digital artist: BUF (uncredited)

Release Date:

  • France 22 May 2009 (Cannes Film Festival)
  • Canada 12 September 2009 (Toronto International Film Festival)
  • Spain 8 October 2009 (Festival Internacional de Cinema de Catalunya)
  • UK 15 October 2009 (BFI London Film Festival)
  • Sweden 19 November 2009 (Stockholm International Film Festival)
  • Estonia 2 December 2009 (Tallinn Black Nights Film Festival)
  • USA 22 January 2010 (Sundance Film Festival)
  • Ireland 19 February 2010 (The Jameson Dublin International Film Festival)
  • USA 15 March 2010 (South by Southwest Film Festival)
  • Japan 20 March 2010 (Festival du Film Français au Japon)
  • Hong Kong 23 March 2010 (Hong Kong International Film Festival)
  • Czech Republic 30 March 2010 (Febiofest International Film Festival)
  • France 31 March 2010 (Lyon L'Étrange Festival)
  • Turkey 10 April 2010 (Istanbul Film Festival)
  • France 5 May 2010
  • Japan 15 May 2010
  • Finland 29 May 2010 (EKEK Sika säkissä Film Festival)
  • Belgium 14 July 2010
  • Switzerland 14 July 2010 (French speaking region)
  • USA 15 July 2010 (Danger After Dark Film Festival)
  • Poland 22 July 2010 (ERA New Horizons Film Festival)
  • Australia 30 July 2010 (Melbourne International Film Festival)
  • Estonia 20 August 2010
  • Germany 20 August 2010 (Berlin Fantasy Filmfest)
  • Germany 26 August 2010
  • Finland 3 September 2010
  • Australia 10 September 2010 (Sydney Underground Film Festival)
  • Netherlands 23 September 2010
  • UK 24 September 2010 (limited)
  • USA 24 September 2010 (limited)
  • Russia 11 November 2010 (DVD premiere)
  • Canada 26 November 2010 (Montréal)
  • Argentina 2 December 2010 (limited)
  • Canada 30 December 2010 (Toronto)
  • Slovakia 13 January 2011
  • Poland 21 January 2011
  • Ukraine 27 January 2011
  • Denmark 12 May 2011
  • Sweden 15 July 2011
  • Spain 7 October 2011
  • Chile 1 December 2011
  • Italy 9 December 2011
  • Portugal 15 March 2012

..

 
 

Filmography links and data courtesy of The Internet Movie Database


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Posted on March 30, 2012 by Harry in Movies | Tags: , , .

10 Comments

  1. oOgiandujaOo from United Kingdom
    30 Mar 2012, 4:45 am

    Gaspar Noé's big beast of a Cannes entrant showed for the first time inthe UK this week in October. Gaspar Noé was there to introduce thefilm, which was a great kick for me, even though he didn't do a Q&A.His intro was quite funny, because he's not a grand intellectual, he'smore of a sensualist. It's clear that he had a pretty dissipated youthand he talked about his experimentation with hallucinogenics and healways wondered as a kid why nobody was making movies with the imageslike he was seeing whilst high in them. So this is a movie I think he'swanted to make for a very long time, perhaps a couple of decades, butonly now has he been able to get the freedom and funding to do it.

    He said he had seen the film Lady in the Lake after taking a magicmushroom; this is a 1947 Raymond Chandler adaptation which is shot inPOV (that is, the camera is like the eyes of the lead). Gaspar had alsobeen reading about life after death experiences, or near deathexperiences. So he wanted to combine the hallucinations, POV shooting,and out-of-body experience material. The result is 2 hour and 43minutes of masterpiece. It will leave the ciné-gourmand gorged andbewildered. For me it's a clear step-up, even an evolution, from hislast feature film in 2002, Irréversible. The idea of having out-of-bodyexperiences really frees up the concept of POV, Noé's not limited bythe body (which can't just glide forty feet into the air, or halfwayacross the city). He's really freed up to shoot the fluorescent sexuallabyrinth of Tokyo, which is shot only at night-time and in POV.

    The story in the movie concerns a brother and sister (Oscar and Linda)who have a childhood trauma and end up moving to Tokyo in their lateteens where they become involved in a heaving underworld. I thinkthough that Tokyo is more of a metaphor in this film, I don't thinkhe's trying to tell you anything about Tokyo the city per se, I thinkit's just the perfect pre-fabricated set for Noé. In the film it's anerve centre, it's that place in life where we meet lovers, copulate,produce new life, and die. It's the mayfly (order Ephemeroptera, fromthe Greek for short-lived) part of the human lifecycle, which weexperience in a heightened fashion through the eyes of Oscar.

    There's a lot of stuff in here for you to take offence to if you want,If you have ever taken offence to a film on content grounds as opposedto intellectual grounds, you're likely to take offence here.Pornographic linkages between adult sexuality and the Oedipus complex,for me are brilliant, but will upset many filmgoers.

    Those people who have decided that Noé is homophobic or misogynisticafter seeing Irréversible are not going to have their minds changed bythis movie at all. There seems to be a very strong link in his mindbetween sex and procreation. You don't have to consume the movie in ahomophobic way in my opinion, but there may be a lot of upset gaysafter seeing this movie. Particularly as the gay character in thismovie is portrayed as being on the same level as the rapist inIrréversible. There's no direct comment, but if you read between thelines, you may not like what you read.

    I think the androphiles are going to love Nathaniel Brown who plays thelead teen, Oscar, in this movie, which is his first credited role onIMDb, straight as I am, even I can tell he's a heartthrob. Paz de laHuerta as Linda, his sister, is very eye candyish too. If you like tosee beautiful things writhing (we're talking eye popping next level FXhallucinations here, as well as copious sex), then this is the moviefor you.

    I walked out of the cinema still tripping, the POV is so spectacularlywell delivered that you feel almost like you're still in the movie whenyou come out, because the mode of perception hasn't changed.

    The lasting images I am left with are from the Love hotel, a verystrange pastel and fluorescent building that has holo-reflectors designon the outside and which Noé dedicates a lot of the later part of themovie to, the FX emanations are spectacular.

  2. Greg Magne (grmagne@yahoo.com) from Toronto, ON, Canada
    30 Mar 2012, 4:45 am

    If the following things disturb you, then you should probably avoidthis film: strobe lights, drug use, shaky hand-held cameras, graphicsexuality, sperm, spinning cameras, psychedelic imagery, blood, gaysex, abortion, breastfeeding or a graphic auto wreck.

    But if you're still intrigued then sit down and get ready for nearlythree hours of mind-blowing imagery that you'll never forget! AlthoughIMDb lists the Toronto Film Festival version as "only" 135 minutes,according to my watch we got the 163 minute version that was shown atCannes. The presenter also warned us 3 times before the screening thatanyone with epilepsy should leave the theatre due to the flashinglights in the film. She was quite serious about that.

    I was a bit apprehensive prior to the start of this movie. I didn't"get" 2001 at all the first time I watched it and I positively hatedDavid Lynch's ERASERHEAD. Would I enjoy ENTER THE VOID? Understand it?Walk out before the end? Yes, yes and no.

    The film opens with Oscar and Linda, siblings from the United Statesliving in Japan, looking out at Tokyo from an apartment balcony. Itquickly becomes obvious that Oscar is both a drug dealer & addict whilehis sister works as a stripper. Their tragic family history is revealedin segments throughout the first hour. The entire film is seen fromOscar's perspective, either as: (1) First-person, shaky camera, blurryshots as Oscar walks around Tokyo, very high on drugs (2) Anout-of-body experience where Oscar floats around the city observingLinda's life and the people that interact with her (3) Flashbacks toOscar and Linda's youth, similar to (1) except that here we always seethe back of Oscar's head in the shot rather than "through his eyes" (4)A surprise at the climax of the film.

    Number (1) above may sound nausea-inducing to some, but there's usuallyinteresting dialogue to distract you from the disorienting visuals andthese scenes only comprise a small percentage of the total screen time.Technique number (2) could have been Oscar-worthy if it was filmed fora less controversial movie. Floating and spinning above the city ofTokyo and watching various dramas unfold from up above is absolutelyincredible. You'll spend so much time watching from this perspectivethat it's easy to get lost in the images and forget what an incredibletechnical achievement you're observing.

    Virtually all of the key plot elements occur within the first 90minutes of the film. After that the film transforms into more of apsychedelic, visual experience while the story fades away. This phaseof the film really tested my patience and I started to check my watchfrequently but there were enough eye-popping scenes that I'm sure I'llview this a second time someday. The momentum returns during the final10 or 15 minutes, and although this final phase is simply a logicalconclusion of what had been blatantly foreshadowed earlier, it'snonetheless amusing and incredible to watch the taboo-breaking finale.

    This film is very unique, disorienting and absolutely incredible &unforgettable. I can definitely understand why it's been compared to2001: A SPACE ODYSSEY, but I found ENTER THE VOID to be more accessibleand more comprehensible during my first viewing. It's too controversialand too bizarre to appeal to most people, but it will undoubtedly findits niche as one of the greatest cult classics of all-time.

  3. sharkies69 from Melbourne
    30 Mar 2012, 4:45 am

    Saw this at the Melbourne International Film Festival. Whilst I didn'tenjoy Noe's first film I Stand Alone, I loved Irreversible.

    There is lots to like about ETV and much to dislike as well. An hourinto the film and I would have given it perhaps an eight or nine but bythe end of the film I was frustrated. Why? Noe just can't help himselfand you get the feeling he either didn't know how to end the film orsimply 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 storywell as he did in Irreversible. You are not spoon fed the story and Ilove the way he told the back story of the two leads.

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

    The acting is quite wooden and doesn't ring true but that is only aminor quibble when compared to the film's bloated running time.

    Hard to fault Noe for his creativity, energy and style and refusal tofollow norms in terms of narrative structure etc. Still, I wish afriend or colleague had tapped him on the shoulder or given him someconstructive 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 andstreamline his storytelling and not feel the need to bludgeon theaudience just for the sake of it.

  4. radioheadrcm from United States
    30 Mar 2012, 4:45 am

    Enter the Void is exactly the kind of polarizing film that cinema needsright now. Too many films these days play it safe, being concerned withkeeping the audience comfortable, safe and happy. Enter Gaspar Noe, whoclearly has no regard either for the well-being of either the audienceor his actors. We have antagonistically long (but brilliant) takes,beginning in an apartment and ending in a bar, several blocks over. Weare given characters and are exposed to their darkest moments, but arenever given a real reason to care for them, or to perceive them asanything but wretched. We are also shown some sexually discomfortingthings that we never really wanted to see on the silver screen (ifyou've seen it you probably know what I'm talking about). Also, thefilm is almost completely in first-person viewpoint, so you'reconstantly feeling confined to what Oscar is looking at, which aremostly psychedelic images. In effect, the feel and tone of the storyare immediately off-putting for the viewer, but since you've alreadybought a ticket, what can you do but follow it through?

    This is definitely the kind of film that can be approached in the wrongway, both with the medium that you view it through, and with your stateof mind. Enter the Void is meant to be a transportive film (i.e. youliving directly in the viewpoint of another, and feeling how thatperson feels, and perhaps even thinking how that person thinks). Totechnically maximize the experience, the film should really beexperienced on the big screen. I'd imagine an IMAX screen to be ideal.

    I also think a film like Enter the Void really needs to be approachedwith a separate set of goals than that of a normal film. First of all,chuck any notions of entertainment, or even enjoyment, out the window.While you're at it, remove any notions of positivity that you can thinkof. The only reactions that Enter the Void will draw from you arenegative ones. Personally, the only emotion I consistently felt was aslight nausea, tinted with the occasional horror, or perhaps a shamefularousal, as there is excessive sexual content that is all wretched inone way or another.

    The film is shot with a certain frame of mind, and sticks to it withremarkable faith. It's in the point of view of a small group of friendswho are confined to the drug and clubbing scenes in Tokyo. He thenfilms them in the most abrasive ways possible, showering the viewer ininfinite neon lights, and fish-eyed close-ups, and then Noe lets hisframes linger on these unsightly images for uncomfortably long. Evenwith his tracking shots moving from one location to another, when theviewer is normally given a moments rest, he rapidly cuts acrosshallways, stairs, and streets, and never gives the viewer a free momentto settle down.

    Despite the film's antagonistic feel, and despite the physical andpsychological discomforts that the film drew from me, I still foundEnter the Void to be a worthwhile and even inspirational experience.More to the point, Enter the Void may not be a friendly experience, butthis exact kind of experimentation and determined expression are justwhat cinema needs in order to be taken seriously as an artistic medium,when so many other directors air on the side of caution and safety. Itmight be a difficult ride, but just watch it once and you'll carry itwith you forever.

  5. kentuckyfriedpanda42 from Melbourne, Australia
    30 Mar 2012, 4:45 am

    Where to start? I saw this film nearly a month ago at MelbourneInternational Film Festival. I haven't quite been able to shake it frommy brain since! Firstly, let's get the negatives out of the was. Thefilm is at least an hour to long and, especially in the latter half, attimes ridiculously self-indulgent.

    However, as a whole, the film has this dreamy, hallucinogenic qualitythat absolutely entranced me. I admire and respect "Irreversible" agreat deal; however, the at times raw emotional quality of "Enter TheVoid" struck a greater chord with me as a viewer. I love the scenewhere Linda finds out Oscar has died. One of the best uses of selectivefocus I've seen in film in a very long time.

    This is a film that demands to be seen in a cinema. Noe's command ofsound and vision is truly astounding to behold. On both a physical andpsychological level, he really gets you into the heads of thecharacters. Apparently, Noe spent two years planning the camera-work onthe film. This sense of attention to detail definitely shows in thefinished product. A month after seeing the film, moments and images ofit are burnt into my brain.

    I will be the first to say that "Enter The Void" is absolutely anacquired taste and definitely not for everyone. However, if you havethe mind and sensibilities for it, I can't recommend it enough. Whilenot as deeply disturbing as "Irreversible", it is,in many ways,infinitely more challenging.

    I have always loved films that can push me, provoke me and take mesomewhere I have never been before. "Enter The Void" does all three. Ican honestly say that, in all my years of watching films, I have neverseen anything quite like it.

    Can't wait to see what Noe does next. This film proves he is truly anartist in all senses of the word.

  6. Simon Kraft from Sweden
    30 Mar 2012, 4:45 am

    This was my first film at the Stockholm Film Festival, I don't mean tobrag but Gaspar Noé got to use my umbrella when the reporters tookphotos of him in the rain, never going to touch that umbrella again…

    First I have to say "Enter The Void" technical masterpiece. The use ofthe camera is creative and splendid and makes the whole movie as aroller coaster ride. The special effects are really, really special. Igot hooked on these technical superiority's in "Enter The Void" that Igot all thrilled down my spine. Watching it at the cinema really gaveit an incredible touch. The sound was ear piercing and in some scenesit made me jump in the seat. It could go almost half and hour withoutany dialog, just remarkable scenes and CGI. You could think by thisdescription it's a joyful and happy movie, but it's really not. It'sdark, sea bottom dark. This movie have everything all parents wants tokeep away from their children. I just get the feelings this movie wouldget so censored in America it would be a whole other film when showedover the ocean. But censoring this movie is fatal and would kill it. Icertainly hope everyone is going to get sucked into the void just as Idid.

    It was a great experience, I can't deny it, but what made me put an8/10 was the length. Sometimes Gaspar really could have made some shotsshorter, there were unnatural long phases that were totallyunnecessary. So that's why I give it an eight. Other then that I see nofaults in this masterpiece. Go watch as soon as it shows up in a cinemaclose to you.

  7. dbborroughs from Glen Cove, New York
    30 Mar 2012, 4:45 am

    I saw the NY premiere of the directors cut last night and all I can sayis I was extremely disappointed.

    This is the story of Oscar, who along with his sister Linda are livingin Tokyo. While Linda goes off to her job as stripper Oscar stays hometo get stoned. When his friend Victor calls wanting his share of thedrugs that they are to sell together Oscar goes off to The Void bar,Unfortunately Victor has set Oscar up and he ends up dead. From thatpoint on we watch as Oscar looks over his life and friends from theother side.

    Told in a POV style (with an annoying blink during the living scenes)we see everything from Oscars POV. This allows for some trippy visualsas we see what he does during his drug trip. Some of this material issome of the most amazing visuals put on film and it needs to be seen ona big screen. Unfortunately we also get seemingly endless shots offlying over the city, through walls, over roofs, down every street thatOscar travels going from place to place. The monotony is of it isdeadening especially at a length that is 20 minutes short of threehours.

    As a fan of the director I have admired his ability to shock hisaudience and to make us think. Unfortunately his power to shock ismissing as the most jarring scenes are the ones that repeatedly show aloud violent car crash. The shock comes from the noise and not theimage or ideas. Indeed even an abortion and a lots of graphic sex failto get a rise because they are weakly handled.(actually the sex withits glowing genitals had some of the people around me laughinghysterically) Noe's ability to make his audience think is also gonewith most of the points about the cycle of rebirth and Oedipal desiresin sex being unoriginal and seeming to have come from a highlightpostcard of interesting ideas and a fudged synopsis of the Tibetan Bookof the Dead.

    In fairness to Noe, had the film not been so long, thanks to theendless travel sequences, this might have been a great film, but theover length and monotonous imagery sink the film. (I'm hopeful that theshorter American version actually corrects this.) If you have anyinterest in the film do see it on a big movie screen since the visuals,which are often amazing, will be best served. (And the opening creditswill knock your socks off. The audience last night gave them asustained ovation) Personally This is an interesting misfire that hasleft me wondering if Noe has lost his ability to really tell a storysince all his films since Irreversible have been severely lacking.

    Almost a good movie.

  8. Charlene Lydon from Ireland
    30 Mar 2012, 4:45 am

    In a nutshell, Gaspar Noe's often exasperating but always visionaryEnter the Void follows a man on his journey from his last hours onearth, through his death and his journey into the afterlife. The firsttwenty minutes or so follows Oscar as he takes a hit of DMT (a verypotent hallucinogen) and goes on a visually arresting, if slightlyover-long trip. He then leaves his house to give his friend a stash ofdrugs he owes him only to be chased and shot by police when he getsthere. From there, his death and afterlife mirrors the philosophiesbehind the Tibetan Book of the Dead which theorises (I'm sure I'mputting this very crudely) that one's soul floats around, watching theworld without them until they figure out how to leave their old lifebehind and move on. To recommend this film to audiences is perhaps awrong turn, as it is bound to strike most as indulgent, immoral,needlessly vulgar and uncomfortable (particularly in Oscar's tendencyto watch his sister having sex whenever possible). However, withsuitably forewarning, this is a film that any self-respecting cinephileshould make a point of seeing, and especially on the big screen.

    Noe proved with Irreversible that he was a technical genius and thathis eye for original visuals knows no bounds. He also proved that hewasn't afraid to shock his audience and has quite the nasty streakrunning 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-eyedunpleasantness, it is difficult to feel anything for any of thecharacters, but none of this dampens the impact of Noe's probing,soaring, spectral camera as it floats in and out of lives and deaths. Idon't know if it has ever been done before but the camera-as-spiritconceit is highly effective and one which puts a very interesting moralspin on the voyeurism of this film. Noe takes voyeurism to extreme, asOscar's spirit jumps in and out of bodies in often very unusual andeven shocking circumstances.

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

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

  9. larry-411 from United States
    30 Mar 2012, 4:45 am

    I attended the International Premiere of "Enter the Void" at the 2009Toronto International Film Festival. Fans of director Gaspar Noé, whosefilm "Irreversible" created a significant following, will not bedisappointed. At two and a half hours long, this film is definitely notfor everyone. But I knew that going in and got exactly what I'd hopedfor and more. It's trippy, dreamy, and mesmerizing and left me shakingmy head in wonder many times. Startling and risky performancespunctuate the dazzling visuals. The biggest surprise for me: "Enter theVoid" has much more of a narrative than I was expecting. I was preparedfor a cinematic acid trip, which I got, but there is an actualstoryline which threads through the experimental camera-work andeffects which are at the heart of the film. I highly recommend thismovie but with qualifications, though. There is a great deal of druguse and some explicit sex but the film is compelling.

  10. pete_hatchetharry from United Kingdom
    30 Mar 2012, 4:45 am

    This movie starts out in a style unlike most and you feel drawn intoTokyo and the flashing lights, as you see life from the point of viewof our hero Oscar. A young Englishman with an unhealthy hallucinogenicdrug habit living with his sister. He has earned enough money to bringher back to his side in Japan through dealing.

    During the first 90 minutes we are treated to a hallucinogenic tripthrough Oscars eyes before he departs with his friend Alex to dropdrugs off at the local club. We see drama unfold and enjoy the tellingof our hero's childhood with his sister before another shock. Cleverlytold through flashbacks the story is both intriguing and interesting aswe examine their lives together and the effects of their actions. Thevisuals are amazing and the effects of flying from one scene to anotherare at first fantastic and dreamlike. However as you drift slowly fromone scene to another you can only feel infuriated and frustrated at theplodding between the plot.

    Still enthralled to find out what will eventually happen I found myselffast forwarding through the last 60 minutes to the story bits. I wasrewarded with some scenes of bizarre debauchery in the Love Hotelbefore the story finale.

    Having loved being shocked by 'Irreversible' I enjoyed 'Enter the Void'but was frustrated at the overdoing of the visual trips flying over andthrough buildings for maybe 60 minutes of the 175 minutes. If you don'tmind chilling out (possibly with some chemical inducement to help) andjust watching a visual masterpiece with a great story interlaced withinit this movie is for you. Otherwise just have the fast forward buttonat the ready. Drug taking, gore, sex, and bizarre but true life acts,combine in a dream like story of life and a vision of death andfantasy. Id give this movie 8 out 10 if it were cut to a morereasonable length.

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