Die Filmdatenbank listet u.a. News, Credits, Drehorte, Starttermine und externe Kritiken. imdb: Enter the Void in der Kategorie Enter the Void. Enter the Void () SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and more. Enter the Void. (56)IMDb 7,32 Std. 34 Min Lange Zeit waren die Geschwister Oscar und Linda getrennt. Nun wohnen sie beide in Tokio. Er dealt mit.
Enter the Void – KritikHere's the trailer for 'Enter the Void', the award-winning indie film by Gasper Noé. Let us know what you think! Bilder, Inhalt, Synopsis, Beschrieb, Trailer zum Film Enter the Void. /db_data/movies/enterthevoid/scen/l/enterthevoidjpg IMDB-Rating: / Kinostart. Enter the Void (). Saved by IMDb · La Haine FilmEnter The VoidMovies To WatchGood MoviesCult MoviesFilm Tim BurtonBill HaderJoe RoganMovie.
Enter The Void Imdb Navigation menu VideoEnter The Void - Full Movie - Nathaniel Brown - Paz de la Huerta - Cyril Roy Severe; Contrary to another viewer, in minutes and a second viewing, this viewer saw no erect penises and no penetration except one distant scene lasting a second. Gaspar Noé planned Enter the Void () over a period of 15 years - before his short film Carne (). He was around 23 years old, when he saw Robert Montgomery's Lady in the Lake () on drugs. The film is shot in subjective camera, entirely from the point of view of the main character. Paz de la Huerta, Actress: Enter the Void. Paz de la Huerta was born and raised in New York City, to a Spanish-born father and a Minneapolis, Minnesota-born mother. She has been acting since the age of four, having trained at the SoHo Children's Acting Studio. Aside from acting, Paz is a skilled artist, designer, and writer who enjoys listening to punk rock music. She resides in Tribeca. Directed by Gaspar Noé. With Nathaniel Brown, Paz de la Huerta, Cyril Roy, Olly Alexander. An American drug dealer living in Tokyo is betrayed by his best friend and killed in a drug deal. Directed by Ian Graham. With Janet Varney, David Faustino, Seychelle Gabriel, P.J. Byrne. Team Avatar hatches a plan to save the Airbenders, but all is not what it seems like. Oscar, das Irrlicht, kehrt immer wieder zurück, um nachzusehen, was nach seinem Ableben mit Linda Pferd+Sport seinen Bekannten passiert. Trivia Goofs Crazy Credits Quotes Alternate Versions Connections. See also Trivia Goofs Crazy Credits Quotes Alternate Versions Connections.
That Argentine-born French director Gasper Noe goes farther with more "artistic" freedom with each successive film.
I've seen I Stand Alone, which I thought reeked of absurd indulgence, and Irreversible, which is dazzlingly weird and morally perplexing.
I give Monsieur Noe credit for being wildly unconventional and creative with bizarre cinematography and editing that accomplish the mood as intended.
Like Kubrick, anyone is incapable of imitating Noe's style with fresh relevance to the meat of the otherwise simple story, because it's his unique style that stands out from hack works by other contemporary filmmakers.
Enter the Void is more of a director's film, because it's overlong so long some tedium is felt intended or not , and at least half an hour could be trimmed without losing story's essence; more on that later and, because he could make a film to his specification as he pleases, base in artistic excess, audiences' plea for respect be damned.
From the opening credit, which is superbly creative one of the best opening credit sequences I've seen , to the death of a protagonist to reminiscences to the reincarnation, it's a dazzling experience in one sitting, on only one condition.
The condition is you have to bear the blunt of the unbelievably explicit sexual content with some profoundly disturbing thematic elements that will rankle your nerve on the philosophical question of ethics, values, mortality -- not to mention human sexuality.
In other words, you must be prepared to partake in the experience. I expected and it disturbed me to an extent, exactly as Noe intended. However, I think Noe went way too far with explicit sexual content that detract from the cinematic visual splendor and story.
This film is borderline pornographic towards the ending, which is so discomforting and gross it's banal. For that reason I rate it low.
Too indulgent for the sake of offending the audience's mores as maximally as possible. I expect a story, not indulgence for the sake of art.
Lengthy "Love Hotel" sequence -- 10 minutes long or so -- will be synonymous with sheer indulgence in "artistic excess," if that should convey a meaning.
It's not art -- it's meaningless to point of obscenity. The first half hour with the wild opening credit and protagonist's point of view in drug experience, interaction, and spirit traveling around with the screen filled entirely of rapid flashing lights for seconds, as well as impressive single-shot scene involving cinematic tricks for seamless POV, has merit in terms of worth seeing.
But when the scene involves the protagonist's sister in the dressing room at the nightclub, with a sleazy Japanese club owner, that's when the momentum begins to wear off and film progresses to never-ending disturbing crescendos; it continues for way too long that tests the audience's will and grit to tolerate the repetitive and disorienting flyovers and often indulgent scenes.
The measure of indulgence causes harm to the film's supposed artistic pretenses later. The more indulgent, the more it became absurd and tedious.
There is no doubt Enter the Void will be a hit as a cult film for the small audience because of weird drug scenes in POV, like when hippies would smoke marijuana to get baked while watching A Space Odyssey.
A good artistic merit as we see what the point of view from a drug-induced mind is like. But the film, overall, is simply too damn indulgent for its own good.
It loses merit as a film that concludes with a gross intercourse POV scene leading to a ham-fisted metaphorical ending. Certainly a pretentious and obscene film, and I'm sure the majority of native French people thought Noe is nuts for going too far with the realm of film-making as an art form.
Because France led the cinematic movement with innovations and pleasant aesthetics in early 20th century, 21st century French film devolves to obscenity for art's sake to satisfy the artist's narcissistic curiosity to stretch the limitation of tolerance in the audience's mores, just like English painter Jenny Saville.
They try too hard to provoke because it's part of their ego -- the need to exist by pissing off people as many as can be, and still get some praise and derision.
They specialize in polarization. Enter the Void fits this description like a glove, and Noe takes pride in extending art to the cutting edge of palpable obscenity as raw emotive art to guage our mores at visceral, spiritual, and moral level in an effort to mock mere respectable decency in common humanity.
If you want to protect your decent humanity, walk out when the aforementioned scene appear. It becomes nihilistic in undermining your belief in humanity, the way Noe intends because he doesn't care who and where you are.
All that matters is how you perceive the world if the film will affect you. Those who are able to sit through the film with iron-clad stomach deserve being congratulated for tolerance, with individual humanity intact upon leaving theatre.
I actually enjoyed the first hour and a half of this film. It was different A little over-indulgent for my regular cinematic taste, but a compelling story told in a truly original way.
But, and this is a MASSIVE but This whole section of the film was completely unnecessary, had no narrative relevance whatsoever.
It felt as if deleted scenes had been randomly tacked on to the end of the film; hammering home the "moral" of the film that had already been unsubtly explained throughout the first half.
Most annoying bits: The CGI looked well at the beginning, but the "Schlong" shot? I could draw a map of Japan from memory with all those aerial panning shots.
The scene in the LOVE hotel I get it. I got the talk when I was a pre-adolescent. I do not need shiny lights emanating from ladies private parts to explain it to me visually.
I can say with all honesty that as it stands this is quite possibly one of the worst films I've ever seen.
Which is a shame because if it was re-edited, I reckon it would be watch-able if not half-decent. This movie starts out in a style unlike most and you feel drawn into Tokyo and the flashing lights, as you see life from the point of view of our hero Oscar.
A young Englishman with an unhealthy hallucinogenic drug habit living with his sister. He has earned enough money to bring her back to his side in Japan through dealing.
During the first 90 minutes we are treated to a hallucinogenic trip through Oscars eyes before he departs with his friend Alex to drop drugs off at the local club.
We see drama unfold and enjoy the telling of our hero's childhood with his sister before another shock. Cleverly told through flashbacks the story is both intriguing and interesting as we examine their lives together and the effects of their actions.
The visuals are amazing and the effects of flying from one scene to another are at first fantastic and dreamlike. However as you drift slowly from one scene to another you can only feel infuriated and frustrated at the plodding between the plot.
Still enthralled to find out what will eventually happen I found myself fast forwarding through the last 60 minutes to the story bits. I was rewarded with some scenes of bizarre debauchery in the Love Hotel before the story finale.
Having loved being shocked by 'Irreversible' I enjoyed 'Enter the Void' but was frustrated at the overdoing of the visual trips flying over and through buildings for maybe 60 minutes of the minutes.
If you don't mind chilling out possibly with some chemical inducement to help and just watching a visual masterpiece with a great story interlaced within it this movie is for you.
Otherwise just have the fast forward button at the ready. Drug taking, gore, sex, and bizarre but true life acts, combine in a dream like story of life and a vision of death and fantasy.
Id give this movie 8 out 10 if it were cut to a more reasonable length. When Oscar is killed by police during a bust gone bad, his spirit journeys from the past -- where he sees his parents before their deaths -- to the present -- where he witnesses his own autopsy -- and then to the future, where he looks out for his sister from beyond the grave.
Olivier Delbosc , Vincent Maraval , Marc Missonnier , Pierre Buffin. Sep 27, Nathaniel Brown Oscar. Paz de la Huerta Linda. Cyril Roy Alex. Emily Alyn Lind Little Linda.
Jesse Kuhn Little Oscar. Olly Alexander Victor. Olivier Delbosc Producer. Vincent Maraval Producer. Marc Missonnier Producer.
Pierre Buffin Producer. Thomas Bangalter Original Music. Marc Boucrot Film Editor. Cannes The Tomato Report — Critics Pick Their Awards Favourites.
November 4, Full Review…. July 27, Full Review…. December 31, Rating: 2. May 18, Full Review…. October 7, Full Review….
October 25, Full Review…. September 7, Full Review…. View All Critic Reviews Sep 30, Enter the Void is an amazing film and a unique experience.
They sure fit the criteria. That experience left me intrigued, but also fearful. My opinion is that the best opening credits do far more than inform you about the people responsible for the film, they inform you about the film itself; rather like the overture of a symphony.
Mesmerising, exciting, and bloody scary. They taunt you to walk away; press eject, continue on to enjoy your tranquil state of mind.
Yet somehow the siren song is irresistible. The most bizzare film I've ever seen and something I never want to sit through ever again. I need a lot of Advil.
The movie started out slow but with an interesting style and then when the story got started I found it fine but it soon lost me completely.
After our main character dies, the movie begins to be jumping back and forth in time and showing some scenes multiple times, which occasionally gets interrupted by minutes of weird moving colors used to portray the ultimate trip.
Enter the Void is a unique experience, I'll give it that much. I don't regret seeing it because it really is something else, but I'm just not a fan.
This is the cinematic version of listening to stoners converse. Quotes [ first lines ] Oscar : Hey.
Hey, Linda. Come outside. I wonder what Tokyo looks like from up there. Linda : I don't. Oscar : Why not? Linda : I'd be scared. Oscar : Scared of what?
Linda : Of dying, I guess. Falling into the void. Oscar : They say you fly when you die. Linda : It's fucking cold.
Crazy Credits At the Cannes Film Festival the film was screened without any opening or closing credits, the film began with "ENTER" and ended with "THE VOID".
Alternate Versions In some countries, the theatrical release was shortened by omitting reel 7 of 9. This removed 17 minutes of material.
Was this review helpful to you? Takaharu Hachiya Bilingual Officer. Toshio Hanaoka Bilingual Officer. Kazuhiro Nakanishi Bilingual Officer.
Adrien Ledanois Bruno's Friend. Keiji Suzuki Bruno's Friend. She had the profile for the character because she likes screaming, crying, showing herself naked—all the qualities for it.
Cyril Roy went to an audition with a friend only because he wanted to talk with the director, whose previous films he admired.
The thought of acting in a film had never even entered their minds. They're easy-going people, they have a good time in front of the camera and I don't think there was a single moment where either of them felt they were working.
Paz, however, was definitely conscious of the fact that she was interpreting a role. Later, when the director was already planning the film, he tried the psychoactive brew ayahuasca , in which the active substance is DMT.
This was done in the Peruvian jungle, where the brew is legal due to its traditional use as an entheogen. Another important stylistic influence was the experimental oeuvre of Kenneth Anger , and in particular Inauguration of the Pleasure Dome.
Other influences from experimental cinema included the works of Jordan Belson and Peter Tscherkassky. There were two reasons for showing Oscar's head and shoulders within the frame during the flashback scenes, rather than letting the camera be the character's eyes.
He also thought it would be easier for the viewer to care about a character who is visible, as many point-of-view films, in his opinion, look unintentionally funny.
The crew filmed in Tokyo from 19 October to 15 December Flashback scenes were shot in Montreal over the course of four weeks the following spring, until 16 May The page screenplay detailed plot developments and many of the visual traits, but very little dialogue was scripted, so the actors were asked to improvise their lines.
I think the energy has to come on the set at the very last minute. Criminal organisations were not involved in the actual production.
Some of the overhead sequences took a full day to arrange and film. The film was mainly shot on Kodak Vision3 D film stock. Scenes where Oscar is alive were shot in the super 35 format with Arricam LT cameras, and the rest in super 16 with an Aaton XTR Prod.
Thanks to Tokyo's many neon signs, very little additional lighting was required for the exterior scenes, despite the fact that many were shot late at night.
For the interior scenes Debie mainly used practical, in-frame light sources. Some exceptions were made. One was that the moods of the characters were meant to be indicated by different colours, ranging from orange to purple with occasional greens.
For this, Debie used a set of red, green, and blue programmable disco lights , which allowed for all different hues. The disco lights were easy to hide.
They were also used for simulation of neon flashes, and to add a tint of red to the dressing-room scenes. Another exception was the use of strobe lights , which were programmed together with the coloured lights.
Blue colour was avoided throughout, since the filmmakers did not associate it with dreams. In those scenes, the camera was held by Debie.
Enter the Void' s post-production process lasted more than a year. He was around 23 years old, when he saw Robert Montgomery 's Lady in the Lake on drugs.
The film is shot in subjective camera, entirely from the point of view of the main character. The main character Oscar is seen just twice while the character is alive in a mirror and while smoking DMT.
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