Enter The Void


Gaspar Noe switches from Irreversible to irresistible...

Enter The Void review

The corpse of a young man lies foetal and final, curled around the toilet bowl in a Tokyo drug dive.

This was Oscar (Nathaniel Brown), an American-born petty dealer, cornered and shot by twitchy cops.

The blood puddling around his crumpled body is laced with hallucinogens. Oscar is a lowlife who died high, leaving behind Linda (Paz de la Huerta), the stripper sister he'd pledged to support after their childhoods were checked by the death of their parents.

Most films would now cut to the remaining living characters as they sift through the aftermath. But Gaspar Noe is not most filmmakers.

Instead, he swirls his lens down through the ruptured flesh and bone and burrows into the soul - and, in time, the heart - of his departed anti-hero...

We then snap into permanent POV-o-Vision, as Oscar's spirit soars above the neon-rinsed metropolis; snooping and swooping into every alleyway and aperture, lurching through the kaleidoscopic hustle like an ethereal pinball.

As his character slips the bonds of bodily limitation, so Noe revels in the cinematic liberation. He skips from place to place, time to time, alighting on both personal flashbacks and interloping through his characters' inner and outer lives.

Oscar's supercharged omniscience serves as a thrilling new form of narrative.

As the story unspools, so he evolves - using his stereoscopic insight to ponder past errors and terrors; to play detective (confirming the betrayal that led to his death); to revisit the grisly moment he and Linda were orphaned; and eventually, to gently correct his sister's torment and alchemise regret into redemption.

It's an audacious, out-of-body experience that only misfires when Noe loses focus on the emotional centre and insists we marvel at an overlong drug-fried CGI lightshow or delivers the fridge-nuking final money-shot.

But beyond the daft comparisons with 2001, this is a mature film from a director who's morphing from eye-rolling agitator into eye-catching artist.

Noe's 2002 breakout Irreversible transcended its notorious rape centrepiece as a tarnished fable on the futility of revenge.

For those whose inner ear can endure the swaying Steadicam, Enter The Void rewards as a compassionate meditation on a refreshingly agnostic central idea: every human life, however squalid or tragic or amoral, deserves to be celebrated.


Sex and drugs, heart and soul. A hypnotic headfuck with a humane afterglow. You'll only see it once; but once seen, never forgotten.

Film Details

  • 18
  • UK Theatrical Release Date: September 24th 2010
  • Genre
  • Director

User Reviews

    • DonisFun

      Nov 16th 2010, 19:58


      This film will certainly not be to everyone's taste, a lot of people will hate it and some will find it genius. Technically the film outstanding, you can imagine the hours/days work for a single sequence in the editing room, the effort to bring something like this together is enormous and Gaspar Noe deserves credit for this. The nonlinear story is cleverly edited together, and with every scene slightly revealing a bit more about the past and present, it keeps you gripped, and don't mind that the film is quite lengthy at two and a half hours. It's not for everyone, some people have said it's too long, and that the acting isn't very good regarding certain characters. It's more of a visual film then anything and you won't get much better then this....ever, possibly!

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