Enter the Void (Soudain le vide) (2009)

Featured Audience Ratings

• John H

  
  I just couldn't get into this movie. The direction is very different from most movies and this film has become a cult classic with a giant following right behind it. But for me it was a two-parter story that is a very repetitive, seizure inducing, mind mushing bore that is barely… More
  I just couldn't get into this movie. The direction is very different from most movies and this film has become a cult classic with a giant following right behind it. But for me it was a two-parter story that is a very repetitive, seizure inducing, mind mushing bore that is barely a film at all. It's a floating camera that captures sex and drugs. I would give credit to many of the longshots, over the shoulder shots, and POV consistency that is rarely used in films today, but it's not hard to figure out why that is after watching Enter the Void. It's a nauseating sigh of flashing colors and disgusting characters. It's one long gimic.

• Kristijonas F

  
  Quite possibly the most trippy and vividly realized films I've ever seen - Gaspar Noe's cinematographic flair is seizure-inducing yet absolutely stunning in scope. The same can be said for the film's plot - which is marvelous at points and nearly unwatchable at others.… More
  Quite possibly the most trippy and vividly realized films I've ever seen - Gaspar Noe's cinematographic flair is seizure-inducing yet absolutely stunning in scope. The same can be said for the film's plot - which is marvelous at points and nearly unwatchable at others. The film meanders and seems to lose sight in the last 20 minutes, but when the shocking ending arrives and the plot comes full-circle, you can let out a sigh of relief that it was all worth it.

• paul o

  
  Yes, we know that its 1h30min worth of repetitive scenes but thats also the beauty of it. Its art-house and not intended to a fast paced action film. In the right mood, this film is beautiful

• Dean M

  
  Technically stunning like Gaspar Noe's <i>Irreversible,</i> this is a kaleidoscopic head-fuck of extreme cinema, pulling in everything from POV noir <i>Lady in the Lake</i> (1947) to <i>2001</i>. It's also dreadfully acted, tediously… More
  Technically stunning like Gaspar Noe's <i>Irreversible,</i> this is a kaleidoscopic head-fuck of extreme cinema, pulling in everything from POV noir <i>Lady in the Lake</i> (1947) to <i>2001</i>. It's also dreadfully acted, tediously "profound" and painfully overlong. Shot through the eyes of drug dealer Oscar (Nathaniel Brown), the prologue pulses with power. But when Oscar is shot, his "spirit" / the camera soars above the city streets, into his past and inside the heads of friends, enemies and sister Linda (Paz de la Huerta). From here, it becomes a misogynistic, metaphysical dirge, with super-close-ups of Linda's weeping, Linda's vagina, Linda's abortion, dead-eyed graphic sex, ejaculation, conception and birth. Woah, that's like life, man.

• Anthony L

  
  Wow. So that was what all the fuss was about! I have to confess, I watched it late on Saturday night after drinking a little too much wine. I made notes though, like I sometimes do in order to remember the things I want to mention in my reviews. I'm not sure I could say it better… More
  Wow. So that was what all the fuss was about! I have to confess, I watched it late on Saturday night after drinking a little too much wine. I made notes though, like I sometimes do in order to remember the things I want to mention in my reviews. I'm not sure I could say it better sober, so here's what I wrote: "It's about life/death in a place that seems devoid of consciousness but also full of consciousness. F**k liner narrative, who needs it. I'm glad I'm drunk. Doesn't matter though, this is art, it will find you if you want it to. Simple. This film is sobering me up and making me more drunk. Provocative! The birth of death? Best example of digital stuff. determination & dedication. This is a project! Disturbing, amazing, hard to ignore. A good kick in the balls. Maybe it's because I'm drunk that I'm not insulted. 5/5 for balls or insanity. 'This is who I am' Wonderful wrongness - ridiculous & wonderful" It's probably my best review yet, I can't decide whether Gaspar Noe should direct every film from now on or if I should drink heavily before watching every film from now on. On the serious side though, I actually watched it again sober (and slightly hung-over). Considering it's supposed to be like a drug trip, maybe it was best to watch drunk. I think I enjoyed the drunk version most but I appreciated the sober one more. I think this is a very rare example of you either love it or hate it but actually, you can love and hate it at the same time. Maybe I need to watch it upside down or underwater next to get more of a scope but I think I loved it. Gaspar Noe impressed me so much with the controversial Irreversible, I can't help but think this is more masterpiece than 'mad man at work'. He's certainly a director in a league of his own. 5 stars from me but that's not necessarily a recommendation. You'd better watch it and make you own mind up!

• Carlos M

  
  Gaspar Noé proves again he is such an imaginative director, taking us with a subjective camera in a depressing psychedelic trip presented entirely from the point of view of the main character. An interesting drug-induced-like experience of strong colors and strobing lights.

• Robert C

  
  There is something about this film that (to spite about 30 minutes worth of excess selfindulgent camera pans back and forth across the city) really got under my skin and in my head. There are shades of Blade Runner, Train Spotting and some camera work, music and sound moments that… More
  There is something about this film that (to spite about 30 minutes worth of excess selfindulgent camera pans back and forth across the city) really got under my skin and in my head. There are shades of Blade Runner, Train Spotting and some camera work, music and sound moments that are down right Lynchian. What's not to like in that? It is (for the most part) brilliantly shot. Visually intriguing and at times almost hypnotic. While the story is completely engaging and ultimately very moving, in a slightly uncomfortable / dirty way. I was really sucked right in and (afterwards) felt like I had been in a sort of trance. It is at times, very quiet, slow and sweet, while at other times loud, violent and hyper sexual. It is the kind of film that you just have to sit back and commit to going along for the ride. I've never taken any psychedelic drugs...but I now feel like I have been on a bit of an acid trip!

• Aaron N

  
  Oscar: Do you remember that pact we made? We promised to never leave each other. Enter the Void is self described by the film's director, Gaspar Noe, as a psychedelic melodrama, and that is a pretty decent way to sum it up. Given that this film is inspired by, among other… More
  Oscar: Do you remember that pact we made? We promised to never leave each other. Enter the Void is self described by the film's director, Gaspar Noe, as a psychedelic melodrama, and that is a pretty decent way to sum it up. Given that this film is inspired by, among other things, 2001: A Space Odyssey, basically replace that film's various themes and imagery with a trippy stroll down the world of a drug addict's disembodied soul, as he travels Tokyo and witnesses various events of his life and the future. Also be warned that this film has the kind of audio and visual craft to plunge you into a world that could induce a seizure if you are not careful. It is also quite graphic. Still, on a technical level especially, this is certainly as far from mainstream cinema as one can get and certainly straddles the line between pretension and intense art. find more at: Thecodeiszeek.blogspot.com

• Reid V

  
  Whether you love or hate the subject matter, Noe is a force to be reckoned with. His films are incredibly unique, beautifully shot, & and agonizingly painful to watch at times. While not as powerful as Irreversible, Enter the Void is an interesting & hallucinogenic look at… More
  Whether you love or hate the subject matter, Noe is a force to be reckoned with. His films are incredibly unique, beautifully shot, & and agonizingly painful to watch at times. While not as powerful as Irreversible, Enter the Void is an interesting & hallucinogenic look at what happens when the soul leaves the body. The fluidity of the overhead camera movements really gives the feeling of the remains of a person looking down on the world he has left behind. However, it is not just an exercise in clever camera work, Noe also gives these characters depth by weaving in flashbacks of the characters childhood. The acting by some of the characters seems to be the one big drawback of this film. In the end, it is one of the more interesting pieces of arthouse cinema to come out in a while. I'm going to save you from a potential pun, but Gasper knows what he is doing.

• Ken S

  
  This movie will probably haunt me for years to come. While I can't say it's the best film of the year, it is hands down some of the most amazing cinematography I've ever seen.

• Tsubaki S

  
  Gaspar Noe shoots his load all over the audience, really. A useless junkie and his skanky sister meet a bunch of annoying and stupid characters. Fancy camera movements don't make a movie good, or stuffing it with neon lights. I won't even start with the whole… More
  Gaspar Noe shoots his load all over the audience, really. A useless junkie and his skanky sister meet a bunch of annoying and stupid characters. Fancy camera movements don't make a movie good, or stuffing it with neon lights. I won't even start with the whole pseudo-spiritual bullshit the movie holds as it's mantra. Also, i get it, the guy wants to bang his sister, no need to show me the same flashback over and over to get your point mr Noe. I guess that explains why the movie is one hour longer from what it should be. The characters pretty much explain to the audience the entire plot at some points, way to think we are idiots that need to be explained everything we see. Irreversible was one of the best films of the past decade, how you go from that to this? As soon as Mr Noe's ego steps down from the mountain then we might be able to get a truly good movie, meanwhile we'll just have to wait.

• c0up  

  
  'Enter the Void'. Extremely confronting, darkly funny, trippy as hell and BEAUTIFULLY directed. A visual masterpiece.

• Lorenzo v

  
  <i>"Do you remember that pact we made? We promised to never leave each other."</i> A drug-dealing teen is killed in Japan, after which he reappears as a ghost to watch over his sister. <center><font size=+2 face="Century… More
  <i>"Do you remember that pact we made? We promised to never leave each other."</i> A drug-dealing teen is killed in Japan, after which he reappears as a ghost to watch over his sister. <center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center> France's Gaspar Noe (Irreversible, I Stand Alone), has delivered an incredible explosion of mind trips, neon, psychedelic strobing lights, amazing visual effects and photography that gives the viewer a voyeuristic trip through the channels of the brain. The story is basically a Brother and Sister that lost their parents in a tragic car wreck when they were children, and divided into different homes, but have rekindled their love for each other after many years. The Sister (Linda) is a stripper, and the Brother (Oscar) is a druggie and occasional drug dealer. After Linda leaves for work, Oscar decides to get stoned, but a friend calls him wanting him to bring him a stash. The nightlife of Tokyo is on display, with glittering everything and very bright flashing colors as we enter Oscar's mind for a trip after he gets shot. For most of the movie, Oscar appears to be watching over his Sister, or is this just what his fading brain cells are producing, kind of in a "Jacob's Ladder" way. Either way, the visuals produce a very trippy effect and make this a supreme stoner film. It's a movie of drugs, graphic sex, and a journey towards the creation of the very start of a life, following from inside the woman, receiving the sperm swimming towards the female egg, fertilizing it and, then the baby. Even though the story itself is kind of second to all the mind blowing visuals, it still anchors the movie to a point, that this is not just one big light show with dazzling visual effects. I believe the movie is concentrating on the circle of life, from beginning to end, and also showing the damaging effects of drugs as a hole. But more than that, the viewer is challenged at all times to follow the story, whose mind are we in as we take in the images. Since they are images of the mind, time shifts are constant as memories become realities as everything moves along. But being merely a voyeur in all of this, we watch other people's lives, watch their passion, love making, and daily dealings. The visuals might be too much for some people, because they are somewhat hard to watch at times, especially when the images are slightly blurred. But all in all, I loved this movie, because I became so engrossed in everything going on, and the frenetic visuals taxed my own brain to capture whatever Gaspar Noe was throwing at me. The movie is hypnotizing in many places in a good way, at least I thought so, but different people with different life experiences will come to their own conclusions about this fascinating movie. It's hard to imagine where Noe will take us next.

• Greg S

  
  A small-time expat drug dealer in Tokyo is whacked, and spends the rest of the movie as a hallucinating ghost. This is an exploitation film masquerading as an art film; it's two hours of nonstop sex and drugs, and thirty minutes of recycled hippie spirituality from the Tibetan… More
  A small-time expat drug dealer in Tokyo is whacked, and spends the rest of the movie as a hallucinating ghost. This is an exploitation film masquerading as an art film; it's two hours of nonstop sex and drugs, and thirty minutes of recycled hippie spirituality from the Tibetan Book of the Dead. Great eye candy (from both the drugs and the sex, and often from the combination---dig those glowing genitals!) make it worth a watch. Add 1/2 star to the rating for each 1/2 tab of acid you drop before screening it.

• jd c

  
  Enter the Void - A drug-dealing teen is killed in Japan, after which he reappears as a ghost to watch over his sister. You can always count on Gaspar Noé (director of I Stand Alone and Irreversible) to fu*k up your day. While not as violently explicit or anger driven as those films,… More
  Enter the Void - A drug-dealing teen is killed in Japan, after which he reappears as a ghost to watch over his sister. You can always count on Gaspar Noé (director of I Stand Alone and Irreversible) to fu*k up your day. While not as violently explicit or anger driven as those films, his newest drama Enter the Void still packs one hell of a punch. In fact, it's just as nerve-wracking. But for different reasons. I Stand Alone and Irreversible were cruel, violent pictures - unbearable for some and explicit to the core. Enter the Void doesn't thrive on violence to tell a story (some bloody images here and there, but nothing repeatedly extreme in terms of carnage). What makes Enter the Void so effective is it's ability to screw with our emotions. It fills the heart with darkness. It makes the world look scary - characters seemingly share only one real emotion...sadness. It's an emotion we all have, yes, but it's the most focalized here. There's nothing else but despair. There's an extremely low self-regard in character, esteem issues that lead to sexual degradations (particularly one scene). Some choices they make, the things they say, come across callously evil. Almost soulless. One main character, Linda, seems to feel the same way - "Evil! You are all evil!" she cries out to a friend (who) apparently has only one thing on his mind as Linda distressingly reveals a great deal of loneliness. A secret cry for help as the friend patiently waits by Linda's side, only to be silent, moving in gently for a soft clutch but in a manner of uncertainty and discomfort. It's easy to see he's not prepared to advise a "friend" who's in desperate need of emotional support, because he's there for one thing and one thing only. Sex. But this is the kind of men Linda invites into her life, always willing - always easy. So is this Linda's own fault? She's an intelligent grownup who clearly understands the consequence of her actions. Should we feel bad for her? We do see in several scenes, in graphic description, how as a child she watches both her parents die and is then later taken away, screaming, crying, from the only person she has left and loves dearly...her brother Oscar (who is the main center of this story). Personally I did feel bad for Linda, very bad, it seems the dark cloud over her head was inevitable. But most of all I was scared for her. I wanted to scream at my TV, "Just leave that fu*king place! If you want happiness leave that shitty life behind!" But of course I would snap back into reality and realize things just aren't that easy. So yet again, depression sets in. There's no smile to be found in the Void, only sadness. It's just a VERY depressing movie. Some may think otherwise. People may find it's message to be spiritually uplifting. It is about life after death after all. Oscar, Linda's brother, may have a second chance at a better life. The whole movie consists of his spirit floating around, watching people's lives crumble apart, reminiscing about his own tragic childhood, and while doing so searching for a woman's womb to reside in until he's reborn. Oscar get's to choose his own parents. It's an ending that'll boggle your mind for weeks...maybe months. The whole idea seems convincingly possible (stemming from my own religious beliefs). In a way, the movie could give a sign of relief if you open your mind and ask yourself, "But what if it is possible?" I did, but unfortunately I wasn't relieved. Oscar's final destination doesn't come as a surprise to us. We know from the beginning where he's eventually going to wind up. Not "who", but "where". The film was inspired by and takes it's source from the teachings of "The Tibetan Book of the Dead", which "describes, and is intended to guide one through, the experiences that the consciousness has after death, during the interval between death and the next rebirth." It's clear where the Void wants to take us from the very start. It's what we have to endure beforehand that leaves, at least for me, nothing more than a bad taste in my mouth. As much as I believe in it's possibilities and can't shake off it's putrid illustration of human decay that had me in such a chokehold. But it's display of dark humanity, as lurid as it could be, is truthful...and it hits you hard. The Void is a bad DMT trip through the evidential realities in the bowels of hell. It's a hell we're all a part of - even if we avoid it. It's a nightmare that lasts only 160 minutes but feels like an eternity. Or at least, at some point, it may. Gaspar Noé's filming technique is the first of it's kind. Unique and mesmerizingly brilliant. Others may find it a bit of a headache. If you watched Irreversible then expect more of the same, just a little less vertigo, brighter/more intense colors, and more originality. The first 20 minutes or so could mark an evolutionary style in filmmaking. We thought we've probably seen all tricks of the trade until someone like Noé's comes along. It happened with 1941's Citizen Kane, creating new filming techniques, inventive ways to work with lenses and lighting. Now 2009, Enter the Void gives birth to a much more innovative use of "eye blinking", as Orson Welles (with cinematographer Gregg Toland) did with "deep focus" in 1941. Enter the Void, the first half, is filmed with the main character's POV. I mean that in the almost literal sense. When Oscar blinks - the lens closes (in the blink of an eye). And it's not over when it reaches it's end...it's only the beginning. You're in for a treat with some of the craziest display of visuals that'll draw you in to it's psychedelic world of urban madness and get you lost in the mist of neon illusionaries. Gaspar Noé's, no matter how raw his content may be, works magic like no other behind the camera. If you're familiar with Gaspar's style you might be a fan as I am. If you are then Enter the Void is a must see. It's an experience like no other...one of his best films. Just be prepared. <a href="http://s294.photobucket.com/albums/mm89/JDHallowEEn/Horror%20CF%202/?action=view&current=Void.jpg" target="_blank"><img src="http://i294.photobucket.com/albums/mm89/JDHallowEEn/Horror%20CF%202/Void.jpg" border="0" alt="Photobucket"></a>

• William D

  
  After an eight-year break from movie-making, Gaspar the Nazi is back. Gaspar Noe, the world's most homophobic filmmaker, is back with a film, "Enter the Void," that once again depicts gay men as subhuman and describes anal sex in bizarrely detailed fashion. (Noe's… More
  After an eight-year break from movie-making, Gaspar the Nazi is back. Gaspar Noe, the world's most homophobic filmmaker, is back with a film, "Enter the Void," that once again depicts gay men as subhuman and describes anal sex in bizarrely detailed fashion. (Noe's repulsion/fascination with anality would surely prick up Freud's ears. You know what they say about homophobes.) It is serious cause for concern that a filmmaker with almost overt Nazi-type viewpoints toward minorities would continue to get funding to produce films and for those films to get worldwide distribution. The Sundance Film Festival this year even showcased his work! There is something disturbing even about reviewing Noe's work. It gives him legitimacy. But if his films continue to get shown and taken seriously by reputable outfits like Sundance and IFC Films, the U.S. distributor of Noe's new film, then reviewers are going to have to at least comment on his work. But it does seem that Sundance and IFC Films have some explaining to do. Why would they continue to support this filmmaker and take his work seriously? Furthermore, where's the global outcry against his work? *************************************** "Enter the Void" isn't as terrible as Gaspar Noe's previous film, "Irreversible" (2002). Noe still has an axe to grind against gay men, but he is learning how to make films. He also doesn't peddle the homophobia quite so relentlessly this time. "Enter the Void" does hold one's interest and does have an effective story. There also are some innovations with art direction and cinematography that have value. But these innovations are minor. "Enter the Void" tells the story of a brother and sister who were orphaned at a young age. They are both now about 21, and the boy has moved to Tokyo. His sister has just arrived in the city for what appears to be an extended visit. The boy has drifted into heavy drug use and spends the whole first part of the film hallucinating. Noe does a fairly good job capturing the hallucinatory state. In fact, the entire film has a hallucinatory feel. A tragedy befalls our youngster hero in the early part of the film, and flashbacks then provide us with answers as to how it happened. Of course, a gay man turns out to be responsible for the downfall of this lost but essentially wholesome straight boy. The film seems to pose this question: How will wholesome straight people ever survive in a world being taken over by "dirty" gay men? The word dirty is used in the film to describe gay men, followed by a detailed description of fecal material being involved in gay sex. The implication is that men become gay because they are attracted to fecal material. (Reminder: the gay bar that Noe imagines in "Irreversible" is called The Rectum. Where do you begin to do a psychoanalysis of a person like this? What is Noe struggling with inside himself and then projecting onto gay men?) The film deepens when flashbacks are used to explain how the brother and sister were orphaned. These sequences are heart wrenching. They are a bit predictable and emotionally manipulative, but they create a deep emotional connection between the brother and sister characters, giving the film much more resonance than would otherwise have been the case. Noe proves effective as well in working with child actors. Gradually the film turns its attention to the sister, and we watch as she gets work in Tokyo as a stripper. She also becomes the concubine of the man who owns the strip club. This leads to an unplanned pregnancy and an abortion filmed in lurid detail. Maybe Noe will focus his next film on the evils of abortion. I can't wait for that. Noe appears to be as fascinated by dead fetuses as he is by fecal material and men's rectums. What an artistic imagination.

• Alireza M

  
  Its a phenomenon and a sensational experience.Despite of its apparent false metaphysics you will be drown in movie.Its from Gaspar Noe,poet of violence who has a very creative mind and his previous movie Irreversible is called a misunderstood classic.Enter the Void literally has… More
  Its a phenomenon and a sensational experience.Despite of its apparent false metaphysics you will be drown in movie.Its from Gaspar Noe,poet of violence who has a very creative mind and his previous movie Irreversible is called a misunderstood classic.Enter the Void literally has nothing to offer, but its like a magic,something unusual that we have rarely experienced.

• Drew S

  
  An absolutely vital cinematic experience. A visual tour-de-force, endurance test and modernist exploration all in one, Enter the Void is not a perfect movie, but it is a carnal and unforgettable one all the same. More later

• E.J. B

  
  FROM TIFF: Enter the Void has been called the 2001 of our time. I can acknowledge the validity of that statement, and I would definitely argue that Gaspar Noe is the Stanley Kubrick of our time. While Noe is not as well known as Mr. Perfection, both filmmakers have created films that… More
  FROM TIFF: Enter the Void has been called the 2001 of our time. I can acknowledge the validity of that statement, and I would definitely argue that Gaspar Noe is the Stanley Kubrick of our time. While Noe is not as well known as Mr. Perfection, both filmmakers have created films that challenge almost everything we have come to accept about society while diving head first into controversial themes, images, sylistic choices, etc. A Noe movie, much like a Kubrick one, is an experience, not a piece of entertainment. Noe's third and best feature explores what happens after death. Death is terrifyingly evil because it permanently takes us away from all that we know and love, and brings us to a place where we have no idea what is in store for us to stay for all eternity. Noe's film focuses on characters who live at the brink of death, associating themselves with the worst of Tokyo's infamous underworld. A young drug dealer named Oskar is killed, and his ghost is able to watch over his sister while seeing his entire life flash before his eyes. Imagine what it would be like to feel somewhat alive after your death. You can float over your body, fly through walls, race across city blocks within seconds, and oversee anything. As freeing as this may sound, however, you also can't escape the more horrific times of your life. A tragic event that changed your life forever may manifest itself in everything you see. On top of that, you have no control. You can no longer think, feel, or communicate. 2001: A Space Odyssey imagined what space and life have been and will be like as time progresses. It also ponders over what is time, what is the infinite. Similarly, Enter the Void imagines what death would be like. It makes you question what exactly is death, and if there is any salvation for any of us. The key difference between the two films is that Enter the Void plays out like a nightmare. We see the characters left behind spiralling further into a more fucked up way of life. We witness an onscreen abortion, orgies, and a terrifying car crash. This is not a movie for everyone. There are many who will be turned off simply by the style because the movie is literally seen through the eyes of the main character, alive and dead. The camera wanders left, right, up, down, never staying still. It can cause motion sickness and nausea. Others may be turned off by the depressingly dark subject matter, the 160 minute running time, or the graphic violence/sex. One major asset this film has is the way it uses CGI. This is the way CGI should be used in movies. Fuck giant transforming robots. CGI is supposed to help tell the story. And the CGI in this movie is subtle, but nothing short of jaw-dropping incredible. Oskar stands in front of a mirror. So does the camera. But the camera is nowhere to be seen. Oskar then splashes water on his face, and water trickles down the lens. Brilliant stuff. Enter the Void is meant to disturb you, but it also wants you to think about death. Not a subject we want to think about, but if you continue to watch this film, you can't help but reflect on it. The film's ending is particularly interesting, and provides the audience with a sense of hope, unlike Noe's previous film, Irreversible. I saw several walkouts during the film, and by the time the credits roled, the only response was from someone who said, "Thank God." But I bet if Gaspar Noe attended this screening, he would have been proud of that remark. After all, if you can sit through a Gaspar Noe film, you can sit through pretty much anything.

• Walter M

  
  No matter how much it may seem at times, I do not automatically give good marks to a movie just because it seems like the director must have been on some serious drugs when he was making it. I mention this having just seen and liked "Enter the Void" which while it has a lot… More
  No matter how much it may seem at times, I do not automatically give good marks to a movie just because it seems like the director must have been on some serious drugs when he was making it. I mention this having just seen and liked "Enter the Void" which while it has a lot of drugs in it, is actually more traditional than I think it would admit. On the other hand, those are some really wild opening credits. In "Enter the Void," we start off seeing what Oscar(Nathaniel Brown) sees in nighttime Tokyo. He is a drug dealer whose sister Linda(Paz de la Huerta) worries that he is getting in with the wrong people, namely Alex(Cyril Roy) and Victor(Olly Alexander) who he is going to meet at a bar. Then things go sideways. Oscar is soon dead.(I had never thought of the Tokyo police as being particularly trigger happy, by the way.) Like the Tibetan Book of the Dead informs him, he has his life flash before his eyes that is captured by an always moving camera over his shoulder. The feeling is not dissimilar to an amusement park ride. But no book can prepare you for the unknown, so maybe he should have read a book about cats instead. However, there is a very good reason for his death obsession. What this section does is fill us in on the past lives of the characters, as any movie does when it relies on flashbacks. The movie attempts to tell it like an LDS flashback, and Oscar has been told the drug DMT can recreate a near death experience. Or if you want to use logic, the movie therefore equates drugs to death and you can see the harm Oscar does by dealing drugs. Overall, the structure of "Enter the Void" is circular, starting at the end of Oscar's life and ending at a beginning. But I did not need such a graphic reminder of how babies are made.(This whole sequence reminded me of an old Robin Williams routine, by the way.) Look, sometimes a woman's breast is just a woman's breast, not a symbol of anything more significant.

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