A 14-year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
A ballet dancer wins the lead in "Swan Lake" and is perfect for the role of the delicate White Swan - Princess Odette - but slowly loses her mind as she becomes more and more like Odile, the Black Swan.
Kevin's mother struggles to love her strange child, despite the increasingly vicious things he says and does as he grows up. But Kevin is just getting started, and his final act will be beyond anything anyone imagined.
For two weeks, 20 male participants are hired to play prisoners and guards in a prison. The "prisoners" have to follow seemingly mild rules, and the "guards" are told to retain order without using physical violence.
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
Gaspar Noé planned Enter the Void (2009) over a period of 15 years - before his short film Carne (1991). He was around 23 years old, when he saw Robert Montgomery's Lady in the Lake (1947) 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.) 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 »
I really feel so happy with you. I feel free. I feel very, very free. You promise me you'll never leave me?
We die together?
We'll never die.
We'll never die?
Yes. We will never die.
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 »
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.
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