Review: Enter the Void
While the film wallows in the same murky underbelly as director Gaspar Noe’s career high-point Irreversible, it is without the compelling narrative technique or daring performances. Noe is clearly trying to make a statement here, but his story goes nowhere and says nothing.
We see the film through the perspective of Oscar, a piece of shit American drug dealer living in Tokyo. His eyes are the camera’s lens and when he blinks, the camera blinks. The visuals are accompanied by his acid-riddled thoughts being heard over an incessantly droning hum with frequent blasts of feedback.
When he was young, he made a pact with his sister to always look over her. After he’s shot down in the most disgusting bathroom outside of Trainspotting, he continues to watch her from above but most of the story from here on is told through flashbacks.
These flashbacks become increasingly redundant, making the ghastly runtime even more unbearable. There are several passages of time where absolutely nothing happens and some shots are hammered into our heads a few too many times. Noe attempts to incorporate Oscar’s acid trips into the experience, but if I cared to stare at psychedelic webs and moving circles for minutes on end I would stay home and download Windows Media Player.
There is not a single character here worth caring about or investing any interest in. My hatred for the film grew by the minute. Through all the doom and gloom in Irreversible we are rewarded with a beautiful closing scene that is strangely hopeful. The payoff in Enter the Void is an in-vagina close-up of a penis thrusting and ejaculating. It might seem this is signaling the start of a promising life, yet having already seen the film we know this life will amount to absolutely nothing.
This is Anti-Christ without any artistic merit. Pure pretentious garbage.