There are plenty of movies out there that are completely unique and provide the viewer with a different sort of experience. This is normally done through narrative tricks or special visual effects to really separate itself from other movies. In my opinion, there has never been a film as different and inventive than Gaspar Noé’s Enter the Void, a film that he calls a “psychedelic melodrama” that seems to defy all conventions of film making and takes a different approach at an art form that seems to have seen it all.
Oscar (Nathaniel Brown) is a small time drug dealer and junkie who lives in Tokyo and mingles with the other assorted junkies and dealers. He shares an apartment with his sister, Linda (Paz de la Huerta), and shares a very special connection with her. One night, after trying to complete a deal with an old friend, the police burst in and shoot Oscar. What follows is Oscar’s consciousness or soul leaving his body and flying over the neon world of Tokyo, examining his past, and observing the lives of others that have been affected by his death with the ultimate goal of achieving some sort of resurrection.
The way Gaspar Noé tells the story in Enter the Void is unlike anything I have ever seen. The movie’s psychedelic mayhem begins right with the opening titles that shock the viewers mind like a defibrillator. Once the titles end, it is strangely calm and the next odd choice by Noé is to have the first half hour completely in a first person POV of Oscar. After he is shot, we travel with him out of his body to experience his life flashing before our eyes and also see the effects of his own death. In this way, the film is still first person, but it’s a strange trip flying over the neon hell of Tokyo.
Where a lot of film makers use CGI as a crutch and a tool to draw in audiences to see spectacular things, the CGI in Enter the Void is for a much more visceral experience. A large part of the story is the usage and effects of a drug/chemical called DMT, which is released by the brain en masse to a dying individual or to the user of the street drug. The effects of this is a vibrant, colorful visual experience which is recreated with the sights and sounds of Enter the Void. As a result, this is a very colorful movie at times, only to be momentarily defeated by the grime and darkness of the deepest alleys of Tokyo. It’s a beautiful contrast, but certainly not the only unbelievable part of this film.
Fortunately, this Noé did not rely on visuals alone to make this movie compelling. The story and theme of the whole things made me revert into my own psyche and think about everything I believe is to be possible after we die. The thought of death is frightening, to simply not exist anymore, and there are so many thoughts as to what happens after our life ends. In Enter the Void, we are presented with one of the thoughts and is put on screen. It’s hallucinatory and even though the themes might be beyond our understanding, it’s still a deeply personal journey.
This movie has polarized audiences since it was shown on the festival circuit, and was hurt a little after it’s poor box office return. This isn’t a mindless piece of entertainment. It is an art film through and through that really makes you think. I know I say that a lot, but it’s been about a week since I watched this and it’s still fresh in my mind. I can not recommend Enter the Void enough.