Dopo che un giovane spacciatore è ucciso in Giappone, egli riappare come un fantasma per proteggere sua sorella.Dopo che un giovane spacciatore è ucciso in Giappone, egli riappare come un fantasma per proteggere sua sorella.Dopo che un giovane spacciatore è ucciso in Giappone, egli riappare come un fantasma per proteggere sua sorella.
- Premi
- 4 vittorie e 8 candidature
- Mother
- (as Janice Sicotte-Béliveau)
- Suzy
- (as Sarah Stockbridge)
- Carol
- (as Yemi)
Trama
Lo sapevi?
- QuizMost 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.
- BlooperDuring 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.
- Citazioni
Alex: Basically, when you die your spirit leaves your body, actually at first you can see all your life, like reflected in a magic mirror. Then you start floating like a ghost, you can see anything happening around you, you can hear everything but you can't communicate. Then you see lights, lights of all different colours, these lights are the doors that pull you into other planes of existence, but most people actually like this world so much, that they don't want to be taken away, so the whole thing turns into a bad trip, and the only way out is to get reincarnated.
- Curiosità sui creditiAt the Cannes Film Festival the film was screened without any opening or closing credits, the film began with "ENTER" and ended with "THE VOID".
- Versioni alternativeIn some countries, the theatrical release was shortened by omitting reel 7 of 9. This removed 17 minutes of material.
- ConnessioniFeatured in Durch die Nacht mit...: Harmony Korine und Gaspar Noé (2010)
- Colonne sonoreSalve Regina
Performed by Jez Poole and Martyn Warren
© ZFC Music
Courtesy of Universal Publishing Production Music
Is it worth the trip? Yes, with an asterisk. After all, the opportunity to see something this flagrantly original comes but once in a blue moon, yet it isn't the sort of experience many will enjoy having. "Enter the Void" begins with a strobing title sequence that explodes into a first person account of drugs and death in Tokyo; it ought to come with a seizure warning. Compounding matters, almost every scene is designed to look like one continuous shot, with the camera being placed either behind our protagonist Oscar's head, or behind his eyelids. As if the pulsating neon lights weren't enough, we're also subjected to the split-second blackouts of Oscar blinking.
Visually, "Enter the Void" is unlike anything I've ever seen, but it sure ain't perfect. The problem, bluntly, is its amorphous, front-heavy structure. The first half plays out conventionally enough, beginning with what we assume is the end, and playing flashback catch up to contextualize the subsequent events. We arrive back in the present to neatly tie the knot, only to discover that Noé isn't remotely close to finished telling his story.
Where he takes "Enter the Void" in its ethereal second half is actually pretty fascinating, conceptually. However, it feels like an entirely different film. Noé floats aimlessly back and forth across Neo-Tokyo (to support the 'one shot' aesthetic, he rarely cuts directly from one location to another, often necessitating that the camera move through walls and entire buildings). The film really wears its premise thin during this overlong stint, though the last twenty minutes mostly redeem it.
The conclusion is a little predictable given that the characters seem to be arbitrarily engrossed by the Tibetan Book of the Dead, but it works because it boils "Enter the Void" down to its visual core. Somewhere along the way, the lines of the narrative are obliterated and Noé takes a hypnotically beautiful and bizarre psychosexual detour that bridges the gap to his ending nicely.
In retrospect, it's easy to remember the curious power of its final moments and marginalize the boredom that divides it from the first, much stronger hour. The film would almost certainly benefit from a second viewing, but I'm still not entirely sure that I would ever grant it one. I seriously question how Noé and his editor could stand to watch and assemble this film all day every day, because even their 137-minute finished product is a workout for the eyes. God help us if it were released in 3D.
But for better or worse, eyestrain is part of the experience, and "Enter the Void" is more an incomparable experience than a great film. It's a shame that the vast majority of its potential audience will never even have the opportunity to see it projected, as I can only imagine home video will diminish its psychedelic impact.
The best recommendation I can make is that if, like me, you go out of your way to see distinctly different films, you'll get your money's worth with "Enter the Void." Objectively, it's hard to deny the incredible creative scope and visual audacity on display, but it's also hard not to wish the whole thing were just a wee bit more succinct.
It ain't perfect, but "Enter the Void" is original, and there's no undervaluing that. Hell, I'll try anything once.
- colinrgeorge
- 10 ott 2010
I più visti
Dettagli
- Data di uscita
- Paesi di origine
- Siti ufficiali
- Lingue
- Celebre anche come
- Vào Cõi Hư Vô
- Luoghi delle riprese
- Toho Studios, Tokyo, Giappone(Studio)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 16.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 336.467 USD
- Fine settimana di apertura Stati Uniti e Canada
- 43.651 USD
- 26 set 2010
- Lordo in tutto il mondo
- 794.042 USD
- Tempo di esecuzione2 ore 41 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1