Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
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
Most of the dialogue was improvised by the cast. Gaspar Noé stated that, as he didn't understand English very much, he needed someone to tell him if what the cast was saying sounded good or not. See more »
15 minutes into the film, there is a bathroom POV scene where the character is looking into a mirror and splashing water on his face. in the sink, the hands have a ring on them, but in the 'mirror', they do not. See more »
The drug guy, he's a dirty bastard you know. Yeah, he likes boys.
Who is this?
Bruno, the guy that gave me drugs. Don't even take a drink. You take a drink, you might wake up two days later with his shit in your mouth, you know.
Or your own shit, you know. I should be able to get him to see you today but I won't come back with you so you should be careful. You know what his new trick is? He can't even be turned on by fucking now, so what he does is...
[looking over the balcony]
[...] See more »
At the Cannes Film Festival the film was screened without any opening or closing credits, the film began with "ENTER" and ended with "THE VOID". See more »
This was my first film at the Stockholm Film Festival, I don't mean to brag but Gaspar Noé got to use my umbrella when the reporters took photos of him in the rain, never going to touch that umbrella again...
First I have to say "Enter The Void" technical masterpiece. The use of the camera is creative and splendid and makes the whole movie as a roller coaster ride. The special effects are really, really special. I got hooked on these technical superiority's in "Enter The Void" that I got all thrilled down my spine. Watching it at the cinema really gave it an incredible touch. The sound was ear piercing and in some scenes it made me jump in the seat. It could go almost half and hour without any dialog, just remarkable scenes and CGI. You could think by this description it's a joyful and happy movie, but it's really not. It's dark, sea bottom dark. This movie have everything all parents wants to keep away from their children. I just get the feelings this movie would get so censored in America it would be a whole other film when showed over the ocean. But censoring this movie is fatal and would kill it. I certainly hope everyone is going to get sucked into the void just as I did.
It was a great experience, I can't deny it, but what made me put an 8/10 was the length. Sometimes Gaspar really could have made some shots shorter, there were unnatural long phases that were totally unnecessary. So that's why I give it an eight. Other then that I see no faults in this masterpiece. Go watch as soon as it shows up in a cinema close to you.
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