Enter The Void

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When Oscar (Nathaniel Brown), a young American drug dealer living in Tokyo, is killed he morphs into a benevolent spirit watching over his sister (Paz de la Huerta).


Like Noé provocation Irreversible, Enter The Void is technically stunning, a kaleidoscopic head-fuck of extreme cinema that pulls in everything from 1947 POV noir The Lady In The Lake to the space trips of Kubrick’s 2001. It’s also dreadfully acted, tediously ‘profound’ and painfully overlong. Shot through the eyes of young drug dealer Oscar (Nathaniel Brown) tripping in a Tokyo apartment, the prologue pulses with colour-saturated power. But when Oscar is shot, his ‘spirit’/the camera soars above city streets, into his past and inside the heads of friends, enemies and sister Linda (Paz de la Huerta), and it becomes a misogynistic, metaphysical dirge that necessitates super-close-ups of Linda’s weeping, Linda’s vagina, Linda’s abortion (plus dead foetus), dead-eyed graphic sex, ejaculation, conception and birth. Woah, that’s like life, man.

Painting from a typical kaleidoscopic canvas Noé crafts a brain-bendingly metaphysical trip that definitely won't be everyone's cup of tea.