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Enter the Void

3.7 out of 5 stars 173 customer reviews

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Editorial Reviews

Controversial and brilliant director Gasper Noe follows his worldwide sensation Irreversible with another triumph. Enter The Void is Noe s most assured and haunting film yet, a head trip a la Stanley Kubrick s 2001: A Space Odyssey and at the same time a piercing modern drama. Newcomer Nathaniel Brown and Paz de la Huerta (HBO s Boardwalk Empire) star as a brother and sister trapped in the hellish nighttime world of Tokyo where he deals drugs and she works as a stripper.
A crime gone bad leads to shocking violence and then moments of transcendence in which the movie plunges viewers into death and rebirth like no film has ever done before via mesmerizing camerawork (The New York Times) that make it a dazzling and brutal exercise in cinematic envelope-pushing (New York Post). Stunning audiences around the world, Enter The Void is a cinematic experience like no other.

Special Features


Product Details

  • Actors: Nathaniel Brown, Paz de la Huerta
  • Directors: Gaspar Noé
  • Format: Multiple Formats, Color, Dolby, NTSC, Widescreen, Anamorphic
  • Language: English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • Rated:
    Not Rated
  • Studio: MPI HOME VIDEO
  • DVD Release Date: January 25, 2011
  • Run Time: 161 minutes
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (173 customer reviews)
  • ASIN: B0048LPRCS
  • Amazon Best Sellers Rank: #48,241 in Movies & TV (See Top 100 in Movies & TV)

Customer Reviews

Top Customer Reviews

Format: DVD Verified Purchase
If there was ever a two minute opening credit sequence that could grab me by the balls, it's from Gaspar Noé's Enter the Void. I'm confident it will have that effect on most people. You can see it here if you don't believe me. I've never seen anything quite like it. It's a strange beginning when considering the way it contrasts with the rest of the film. This hyper-frenetic, psychedelic introduction is the star of a film running around two and a half hours, and you'll feel every minute of its run time.

Noé has made a career as provocateur. His last few films involve a level of violence, sex and depravity (and a mixture of all three) that anyone could argue is excessive and exploitive. The problem, however, is that Noé is so talented, it can't altogether be dismissed. It reminds of Lars von Trier, and his latest film Antichrist. Enter the Void doesn't represent a marked change in style for Noé. All the base elements are there: sex, drugs, incest, abortion. And it's completely warranted to feel you're owed an explanation as to why you should subject yourself to them. I don't have an answer. But I can say that there are such dazzling flashes of genius sprinkled in throughout the film, that wading through the rest of the bog will be worth it for some. Even though you'll come out of the experience probably feeling dirty, and empty.

Enter the Void is losely based on The Tibetan Book of the Dead, a canon of scripture for Buddhists. It is an instructional manuel filled with directives for those between this life, and their next reincarnation-what they should prepare to experience, and how they should react. Oscar (Nathaniel Brown) is an American, living in Tokyo. Or at least a Noé-esque Tokyo full of drugs and bass-thumbing club music.
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Format: DVD Verified Purchase
I don't think we have enough time and distance yet to realize how new and singular Enter The Void actually is. Singular here is a very important adjective. Gaspar Noe's vision may vaguely conjure up David Lynch; particularly the yarn within the yarn of Mulholland Drive and, in turn, Inland Empire. But this is a film that sets out on its own two feet, that ventures into a world of memory and posthumous viewership. It addresses death in a manner that would make Georges Bataille proud, which is to say that dying becomes a renewal of spirit as formative as a second arrival. But, as with Bataille, that doesn't automatically mean that all is right again. All is lost.

I part with many critics who say that Noe's cinema is always one of nihilism and strained edginess. I Stand Alone is, in my opinion, the least of his efforts. It coasts on a wanton desire to shock, and suffers for that reason. But Irreversible, especially known for a few graphic scenes (and we all know what they are already), merges this transgression with consequence. Many people forget that, in the rewind that is the movie, we wind up in a bedroom with a naked couple in love. It seems as though the city decided to bleed all over their plans. You don't need to take a graduate level film theory class to see the dissonance. It's an inwardly beautiful world for two lovers; it's a chaotic, inconsiderate turned malevolent one once you step outside.

Likewise with Tokyo and Enter The Void. Tokyo doesn't care, just as Los Angeles, New York, London, and Paris don't care. It is a canvas for loss and disappointment, especially when one is sent there already adrift. And Oscar and Linda have always been adrift. There is no city, no concrete or neon, that is going to replace what's gone.
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Format: DVD
Disclaimer: I viewed this film as a streaming rental, and as such, cannot comment on the audio or visual quality of the disc. My review concerns the entertainment value of the film itself.

Bound to appeal to only a small subset of film buffs (though to them it should have an intense appeal), 'Enter the Void' is an exploration of the split seconds between life and death, and an experimental trip through method and technique of film-making. Gaspar Noe, the director of 'Irreversible', is the real star here, as this is above all the vision of the helmsman rather than a vehicle for its actors. In fact, several of the key players were first-time unprofessionals, although that made little difference if any toward the film's overall effectiveness. To me, success or failure for this particular sort of film is better measured by how well it communicates its ideas rather than by more traditional yardsticks - but having said that, it's also important to note that a reliance on unusual camera-work, disjointed narrative, and uncommon acting styles is probably going to turn many viewers away from the film before they give the ideas a chance to resonate.

A orphaned young man and his sister, both Westerners, are struggling to get by in Tokyo as a drug dealer and a stripper, respectively. In the early going of the film, the young man, Oscar, is set up for a sting by one of his buyers, and is shot by the police. For the next two hours or so, directer Gaspar Noe envisions the moments prior to death, borrowing heavily on flashback, the effects of the drug DMT, and THE TIBETAN BOOK OF THE DEAD.
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