"Enter the Void" is the cinematic equivalent of an epileptic fit. Beginning with the opening credits, Argentinian director Gaspar Noé seeks to overwhelm us with frantic flickering and humming. Then we are thrown into the first-person perspective of Oscar, a drug dealer in Tokyo. But that doesn't last for long, because poor Oscar gets betrayed by a friend and ambushed by the police. He flees to the toilet of the eponymous bar "The Void", where he gets shot. From this point on, the camera represents Oscar's soul, whirling through Tokyo and waiting for some kind of redemption or resurrection.
When you watch "Enter the Void", you might be tricked into thinking it is art. But actually, it is the exact opposite: It is trash masquerading as art. Behind its flashy façade, there is not much to be said about the substance of this movie. Noé focuses on one single gimmick and does it to death until the audience is frustrated, nauseated or (in my case) bored. Don't get me wrong. Of course it can be interesting to challenge and even torment the audience of a movie. Look at Lars von Trier's work, or Nicolas Winding Refn's "Only God Forgives". Although "Only God Forgives" is deeply flawed, at least it has some kind of mystery to it, whereas "Enter the Void" is literally devoid of any meaning. Its style is one-sided and its story shockingly trivial.
There are some redeeming factors. The sex scenes feel sensual and real in a way the rest of the movie doesn't. An incestuous relationship between Oscar and his sister Linda is frequently hinted at, which gives "Enter the Void" an emotional center, albeit a very blurred one. If you just want a different or extreme experience, you might enjoy Noé's visual orgy. But if you expect a finely nuanced and truly artistic movie, don't bother with this one.
When you watch "Enter the Void", you might be tricked into thinking it is art. But actually, it is the exact opposite: It is trash masquerading as art. Behind its flashy façade, there is not much to be said about the substance of this movie. Noé focuses on one single gimmick and does it to death until the audience is frustrated, nauseated or (in my case) bored. Don't get me wrong. Of course it can be interesting to challenge and even torment the audience of a movie. Look at Lars von Trier's work, or Nicolas Winding Refn's "Only God Forgives". Although "Only God Forgives" is deeply flawed, at least it has some kind of mystery to it, whereas "Enter the Void" is literally devoid of any meaning. Its style is one-sided and its story shockingly trivial.
There are some redeeming factors. The sex scenes feel sensual and real in a way the rest of the movie doesn't. An incestuous relationship between Oscar and his sister Linda is frequently hinted at, which gives "Enter the Void" an emotional center, albeit a very blurred one. If you just want a different or extreme experience, you might enjoy Noé's visual orgy. But if you expect a finely nuanced and truly artistic movie, don't bother with this one.