Co-written, Directed and Co-Edited by Gaspar Noe
The way Enter the void starts off gives you a feeling of being in for something ethereal or otherworldly with a promise of one mind blowing neo-psychedelic experience. It also reminded me of the feeling you get when you watch an exceptional experiment away from the routine of the usual escapist cinema.
That feeling stays tight for the first 30 minutes and from there on it’s a terrible disappointment.
It’s the story about a petty dope dealer Oscar(Brown) who gets shot unfortunately during a deal and from then on watches over his orphan sister and the aftermath of events floating above them and the city of Tokyo and sometimes getting into people’s dreams .
Inspired from ‘the Tibetan book of dying’ it raises questions about death and its aftermath. Even though there isn’t much scope for acting Paz de la Huerta looks like an amateur pornstar too excited to be in a film and Brown (this is his first film) didn’t have much to do either as the camera dances around from his viewpoint. The use of CGI is abundant and Noe uses it nicely to show the feeling of using a drug. The use of lighting is groundbreaking and DP Benoit Debie has brought in his A-game, the editing which was done by Gaspar Noe himself and Marc Boucrot is one of the most commendable cuts I’ve seen in recent times. It’s the crisp editing I loved most.
Many critics said it’s a piece of art, well I thought except for a few bits its just a filmmaker’s oversexed european freedom to show people having orgasms, after a time its like you are just watching the sexual experiments of his lost sister.
Written by Noe and his wife Lucile Hadzihalilovic, the writing is good in parts like when his sister asks Oscar to get a job, he replies coolly “every guy who has got a real job is a slave” and after that line there is nothing worth mentioning.
It is an experimental film and it can no way be compared to the greats in the ‘drug culture’ genre (Traffic, Requiem for a Dream and Trainspotting).