Enter the Void

Enter the Void

           Enter the Void
               Genre: Drama
               Death, Tokyo, drugs, Cannes 2009
  To view the truth, at least to get there around not: Whether Gaspar Noe’s new film, Enter the Void suffer now or can not to see him in any case, in which direction whatsoever, an aesthetic border experience, a tug otherwise mostly abandoned nerve, a challenge and a nuisance. It starts with a preamble, which is like a movie guy on speed, a typographical fireworks in bright colors that remain of the name only as a short exercise fragments in memory, and, at drugs and exercise, it will then go in the future. Oscar (Nathaniel Brown) is a small drug dealer in Tokyo, previously he has held himself with odd jobs on the water, but because he wanted his sister Linda (fetch Paz de la Huerta) to accept – the two share a traumatic childhood – he needed rapidly more money and a small apartment. At least, he declares himself and the other his world cope, and of course he was not dependent on – but though Oscar is really the main character of Enter the Void, or at least the center around which herumoszilliert the history of irregular, issue here is not really about him. The main reason is that the perspective of the film is oriented so completely at Oscars perception. The film establishes a first camera view, looking in the narrowest sense, the literary perspective to copy a first-person narrator, we look to shut the world out of Oscars eyes as pure copy of his look, is that open and close lids. This is especially so irritating and disorienting, because it remains so consistently, and while we would like to see the right and left more, you get here, none of the cinematic means – long shots, “establishing shots” and all these things – presents, for otherwise the orientation. shall The viewer is thrown back out to these movements of the head trust, roars through the night, through a Drogentrip and into a near death experience, or perhaps its final death? With a friend Oscar philosophized shortly before or about the effects of dimethyltryptamine, which miss the body of a rush by those substances, which itself also produces the moment of death, “like dying would be the ultimate trip”. And then this is all not so, instead of half-organic, semi-crystalline color and light structures, constantly changing, fuzzy and outshines as on drugs previously staged (2001 – greet Space Odyssey will), you can hear now briefly Oscars voice introspective. speak Then he is silent, his eyes, our eyes fly through walls and obstacles. Scraps of perception of the world lined up together now, like Oscars sister, his friends learn of his death, what happens next, all alternating with memories that tell by and by Oscar and Linda’s life. For the viewer this is an exercise in patience. For these flights of curving, rotating camera about the city happen again and it always looks from one perspective, now often from above, in the memories always from behind Oscar’s back. This leads to a visual experience, in which one can fall into it must be because you want to free themselves from it constantly otherwise. The narrow through the rooms of the city before Tokyo already produced feelings of anxiety is made physically with cinematic means nigh, the action raises the same time this experience into the metaphysical. In all the fragments, flashbacks and snatches of dialogue develops Enter the Void by and by not fail to reflect on suffering, loneliness and physical, not just sexual desire, and the audience is also the view of the camera delivered as we able to be in the world – “Geworfensein” in Heidegger’s degree will be discussed here. So exciting and stressful all this is, it is also too cool, too unemotional, too calculating. In all its aesthetic surface radiates the film willed artifice, mixed the colors of a city model, which has added a friend of Oscar (“Tokyo on Acid”) with the night life out there, until the figures are for the grand finale in a “Love Hotel” take that seems to be only in the model – and that there “Club Sex Money Power” is written, but repeats the motifs of the film, together with any but added nothing new. For as much room for interpretation and enjoyment Gaspar Noé does with this film, he is far too long, pretentious, highly repetitive and redundant piece of film art, sometimes exploitative – a swelling of aesthetic adventure, alternating between Lust and Boredom that you can really appreciate, if possible only in a state artificially induced expansion of consciousness. (Rochus Wolff)
  Title: Enter the Void Original Title: Soudain le vide Country of production: France Production year: 2009 Length: (# ) 162 (Min.)

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