I may never watch Gaspar Noé's Irreversible again. Not because it’s a “bad” movie, but because it is so profoundly disturbing. It is easily among the most devastating films I've ever seen. Not many movies have that power, and in that way, it has continued to lurk in the darkest recesses of my mind. Noé’s feature-length follow-up, Enter the Void, has similar qualities but retains some re-watchability. I hesitate to say I enjoy it, but I do actually like to give my Blu-ray a spin from time to time. Enter the Void made its American debut at the Sundance Film Festival on January 22, 2010, so let’s take a look back in celebration of its 15th anniversary.
Enter the Void was written by Noé (with the help of Lucile Hadzihalilovic), and the plot is hard to sum up. It's also somewhat beside the point, in that the film is more of an atmospheric existential think piece with an esoteric tether to the Tibetan Book of the Dead, clothed in loose narrative pretenses. However, I'll give it a shot. Two quasi-incestuous American siblings were orphaned at a young age. Currently, they live in Tokyo. Oscar (Nathaniel Brown) is a drug dealer and an imbiber of powerful psychedelics, particularly the so-called "spirit molecule" known as DMT. Linda (Paz de la Huerta) is a stripper and lover of a Japanese club owner. That's about the extent of what you should know going into the film.
Visually, this is one of the most stunning and interesting films I've ever seen. Even more so than in Irreversible, DP Benoît Debie’s camera floats and flies through the picture. Utilizing a hard first-person perspective in parts (including simulating the character's blinking of their eyes to obscure the images), a more fantastical implied first-person perspective, and a near third-person perspective that's reminiscent of some video games, the film is wholly unconventional in its presentation. This may have come off as experimental or gimmicky in less skilled hands, but that is most definitely not the case here. I can almost guarantee that even if you hate the film, you'll at least be impressed by the virtuoso camera work. The imagery is at times visceral, graphic (and I mean graphic with a capital "G"), and mind-bending. The DMT trip sequence near the beginning of the film is truly beautiful. I've heard this flick described as being "the 2001 of drug films," and I feel that's a fairly accurate statement.
That the editing by Noé, Marc Boucrot, and Jérôme Pesnel manages to weave all of this together in a coherent manner is nothing short of astonishing. It is an absolutely essential part of the look of the film. Throw in the nonlinear aspect of assorted flashbacks and the possibly circular denouement, and it’s impressively complex work.
The music and sound design are also quite good, too. The title sequence, in particular, is noteworthy in its effectiveness. I can almost guarantee that the weird, funky, percussive beat from that part of the film will continue to slam around in your skull days after you watch it.
A supersonic, twisty-turny, gripping, horrifying, revolting, cranium-scathing, optical, face-melting, drugged-out, spiritual, psychological, and ambiguously life-affirming piece, Enter the Void is not for the faint of heart or casual cinema fan. You will be virtually assaulted in various ways as you watch. As a quick aside, do not watch this if you are epileptic. There are strobe effects used in multiple parts of the film (and they honestly almost make me nauseous). I'm certain that that's an intended effect, as drug-induced disorientation and an approximation of disembodiment are crucial elements to the impact of the movie on the viewer.
In any case, I love the film even though I don’t find it enjoyable, per se. Please take that as both a recommendation and a warning. This isn't a film that is easily digestible. It confronts you with numerous uncomfortable questions. I’m guessing that Gaspar Noé would likely raise an eyebrow at my description of his film being life-affirming, but the line between existentialism and nihilism is often demarcated by the observer. Wherever your philosophical bearings are rooted, just know that if you accept the invitation to enter, you shouldn't complain about the ride.
Michael Cavender