By Tim Lucia
Argentinian (and French-schooled) auteur Gaspar Noe released his hallucinatory epic Enter the Void at Cannes in 2010, where it took audiences by storm. Somewhat similar to Kurbrick’s 2001: A Space Odessey, (especially the third act), it is very experimental and extremely trippy. American drug dealer and user Oscar (Nathaniel Brown) lives in a dark, seedy, neon-lit Tokyo (think Blade Runner’s production design) with his stripper sister Linda (Paz de la Huerta). During a police raid on a club, Oscar is shot and killed. The first act (and almost the entire film) is shot from Oscar’s point-of-view. After death, Oscar’s spirit leaves his body and he floats over Tokyo, watching the goings-on of the seedy underworld, while keeping a close eye on his sister as she goes through her grieving process. Oscar sees all the colors of the spectrum in great beauty and can see life even down to the molecular level, while at the same witnessing life’s grim ugliness. Flashbacks to Oscar and Linda’s childhood unfold, and the viewer begins to get a greater sense of who these characters are. Enter the Void is crazy, hallucinatory journey through life and death. Forewarning, the film does feature some very explicit sexual content, so it’s probably not for younger viewers. Note: On imdb, the film is listed as being 161 minutes, but the Netflix version is only 143 minutes.