Enter the Void

Enter the Void ★★★★½

The more I watch Gaspar Noé's films, the more I like it. Now that I've completed all his films, I can honestly say that he is one of the best filmmakers around.

The first question that comes to my mind when I think about the quality of his films is the reason most people dislike them: the style. As I said before, the question "style over substance" has been so used lately that it has become a cliché, and a bad one. Bad specially because it is more like an addiction of people disinterested in art but interested in entertainment. The difference between one thing and another is exactly the style over these two. Whilst in Art style means substance, in entertainment style is a decorative detail. If you come to a film such as this one you are looking for a touching story of redemption or some kind of moral code, you will feel disappointed. There is no moral for Gaspar Noé. His story is the way he tells it, is his trademark in this camera that is there not to just pick up events but rather to play with a determined vision of the world.

The main focus in Enter the Void is, obviously, the Void. But what it the Void? In this film, for the camera, it is the connection between everything. The camera travels through voids and holes all around Tokyo to show you separated parts of this complex story and presents voids and holes as agglutinating pieces of the world, where everything falls into and give form to the world we live. The void is the hole in the chest of a dead drug dealer and it is also a vagina where love and life take form. This aesthetic principle leads the viewer to witness a bunch of tragic events that starts and ends in/through/due holes and voids. In this film, all the shapeless mass of chaos of our world is not enough to avoid the existence of love, presented specially as the sexual relationship. All kinds of it.

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