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Enter the Void [DVD]

3.8 out of 5 stars 35 customer reviews

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Product details

  • Actors: Natheniel Brown, Paz De La Huerta, Cyril Roy, Masato Tanno, Olly Alexander
  • Directors: Gaspar Noé
  • Format: PAL, Widescreen, Dolby, Digital Sound
  • Language: English
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 2.35:1
  • Number of discs: 1
  • Classification: 18
  • Studio: Entertainment One
  • DVD Release Date: 25 April 2011
  • Run Time: 154 minutes
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (35 customer reviews)
  • ASIN: B0045534TK
  • Amazon Bestsellers Rank: 68,133 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

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Product Description

Oscar and his sister Linda are recent arrivals in Tokyo. Oscar s a small time drug dealer, and Linda works as a nightclub stripper. One night, Oscar is caught up in a police bust and shot. As he lies dying, his spirit, faithful to the promise he made his sister - that he would never abandon her - refuses to abandon the world of the living. It wanders through the city, his visions growing evermore distorted, evermore nightmarish. Past, present and future merge in a hallucinatory maelstrom

Customer Reviews

Top Customer Reviews

Format: DVD Verified Purchase
Gaspar Noe presents ENTER THE VOID: A challenging, mind-warping film. The ambitious writer/director infuses the picture with fluorescent colors and eerie moods reminiscent of the late Stanley Kubrik. In addition, his fascination with drug-addled, depraved souls and use of non-linear storytelling invokes Quentin Tarantino (minus all sense of humor). While ENTER THE VOID includes many disturbing moments (graphic sex, pulped car crash victims, aborted fetus close-ups, narcotic usage), it never approaches the haunting, unbearable brutality of Noe's last opus, IRREVERSIBLE, with its grisly head-bashing and rape scenes.

In spite of the major experimentalism, Noe manages to develop a crystal clear narrative thread and the whole psychedelic soap-opera comes together neatly. From start to finish, this VOID bursts with light, form and sound. Forget Who, What, When, Where and Why . . . ENTER THE VOID leaves one wondering "HOW?"
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Format: DVD
I just finished watching this film about ten minutes ago. I knew absolutely nothing about it before watching, which is a good thing. Therefore; I don't want to give any of the plot away. I will say that it's absolutely stunning from a technical point of view; horrifyingly disturbing at times; incredibly beautiful and joyous; terrifying, sleazy, psychedelic, difficult, long, arduous, and completely unforgettable. For me personally, it's one of the most intense cinematic experiences I've had since seeing 2001: A Space Odyssey. If you don't like experimental or unconvential films, avoid this; but if you're interested in what I said above, avoid spoilers and watch it immediately.
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Format: DVD
Watching Enter The Void the film that came to my mind most was Mirror [DVD] [1974], by Tarkovsky. Many film makers have tried to ape Tarkovsky. Most recently Lars von Triers with Antichrist [DVD] [2009], but have failed simply because they concentrate on technical aspects rather than the totality of the Master's approach.

Gaspard Noe has succeeded in creating a masterpiece. And it is a masterpiece that, like Mirror, sets it apart from any other cinematic experience. And he has done this by adopting an approach that is tied to a philosophy. It is irrelevant whether you agree with Noe or not: it is the end product that counts.

Against all my expectation, I found Enter The Void to be a film of sheer beauty. It also put his previous films in perspective and also suggests why, as with Tarkovsky, he takes his time over making his films.

If one looks at I Stand Alone [DVD] [1999] [Region 1] [US Import] [NTSC] (only available on US import so far) one sees how Noe uses the camera to hammer away at the individual and see the world through his eyes. Ultimately I Stand Alone is concerned with the individual. Irreversible [DVD] [2003] took the process one step further and the camera is used, in that film, to make sense of the narrow environment.
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If you’re unfamiliar with Gaspar Noe, you’ll learn pretty quickly that his film’s aren’t merely ‘movies’ or ‘stories’, but full-on immersive experiences – unique, ambitious, and experimental. Everything ‘Noe’ is in here – long takes, disorienting audio and visuals, brutal and challenging scenes & stories, non-linear storytelling; not to mention explicit / sensational / controversial subject matter. Halfway through the runtime we get a recap of the beginning, and from then on the film seems to lose its way – filling the time with elongated CGI trips and floaty filler, overstaying its welcome, and pushing the viewers further and further from the story, until the final ten minutes, which is just gratuitous sex for no real reason (it did explain why I could only get this as a German import – classic Germany), topping out with a POV (Point-of-Vagina!) money shot.

I don’t say this often, but there is waaaaay more nudity than required in this!! Technically it’s jaw-dropping and mind-boggling: the camera glides in / through / over any objects so fluidly – yet these astonishing feats are countered by overlong sequences of trippy, psychedelic, CGI visuals – one thing’s for sure, there’s no faulting Noe’s commitment to his vision. At just under three hours, this is simply far too long – there’s a stunning 80-100 minute film in here. Enter The Void is both immersive and repulsive: a well-realised idea, centred around an average story, with a divisive final hour, and trainwreck final 10 minutes… all told through an exciting, cinematic, and truly unique out-of-body experience that no other director would even dare to take on. I’m split right down the middle.
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In an unfair world where terrible and self-indulgent films receive critical acclaim and accolades while youthful creativity and originality often get ridiculed, seeing an experimental gem like ‘Enter the Void’ restores my faith that conceptual cinema is still alive and more than kicking. Despite all the critical snubbing the film has received, this is an astounding achievement in modern cinema. The reason is that it is by far the most accessible experimental film that I have ever seen. Many directors, including some of the greats, have tried their hand in experimental impressionism and have contributed a great deal to the evolution of cinema. However, even the finest of such films have the usual weakness of being unappealing to audiences beyond the Art-house circuit. In total contrast, ‘Enter the Void’ explores the universal theme of life, love and death in an engaging, gripping, sobering and thought provoking way, so that the audiences are intellectually challenged to interpret the events that unfold in their own way, whilst keeping the storyline in actual effect very simple and, therefore, accessible.

The one weakness in the film’s concept is its reliance on the archaic and scientifically irrational belief in rebirth or reincarnation. However, this is an idea that the humans, being the most imaginative animal on the planet, have pondered for millennia, in their search for a meaning to an otherwise pointless existence, and hence, remains a valid and exciting subject for cinematic exploration. It is also the case that the film’s premise is far more ambitious and complex than a mere exploration of reincarnation: it is more of a study of the fundamental forces that drive birth, life and death.
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