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.
Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
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 »
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. See more »
Hey. Hey, Linda. C'mere. Come outside. I wonder what Tokyo looks like from up there.
I'd be scared.
Scared of what?
Of dying, I guess. Falling into the void.
They say you fly when you die.
It's fucking cold.
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 »
In some countries, the theatrical release was shortened by omitting reel 7 of 9. This removed 17 minutes of material. See more »
The intellectual's 'Inception' - a 'Now I've seen it all' death trip back to life
So what could I add to what has been stated in the other reviews? Yes, 'Enter the Void' is definitely a trippy mindbuster, and as such anyone who requires story or frames to enjoy a film should give it a miss. Yes, the visuals are eye-popping and the ubiquitous stroboscope effects may cause severe nausea - I watched it on BR and couldn't help but thinking what an advantage home entertainment can be over cinema exposure. This is a film which may be best enjoyed alone, somewhat stoned or drunk, and very late at night. And the pause button is definitely a life-saver.
I can sympathize with those who felt tormented by the epic runtime and disparity between the first and second half of the film: the former is sort of a 'last film' of the protagonist Victor retelling his life, and therefore makes sense plot-wise, the latter is a meandering flow representing his attachment to his sister. It is a bit unfair to discard the film for this reason, though, because the dialogue between Victor and his best friend Alex in the beginning hints at what the nature and culmination of this attachment will be. The interspersed aerial shots of an increasingly CG-rendered Tokyo may actually put this transition into question - this could all very well be part of Victor's 'death trip'.
What I really liked about 'Enter the Void' is the setting, for I have lived in Tokyo myself for three years. The area where the story takes place (judging from where the CG puts the Tokyo Tower) should be Roppongi, which is an expat and night club haven; while the CG makes the place appear a bit gaudy, it is indeed populated by a disproportionate number of drop-outs and sleazy bees, and I've always wondered why there's no film about Roppongi yet - contemporary Tokyo is mostly condensed to the Yakuza backdrop of Kabukichô or the juvenile epicenter of Shibuya. So on that note, I appreciate a film about the expat world, as weird and dysfunctional as it may be.
'Enter the Void' pushes the gates of what film can visually do visually wide open, and therefore shouldn't be dismissed by any cinephile. But your viewing conditions will be crucial to whether you will love this film or hate it.
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