“There’s no way to summarize the paranoid, terrifying and surpassingly beautiful lysergic odyssey between life and death on which Noé takes us, except perhaps to explain that he has said his principal influences here are Kubrick’s “2001: A Space Odyssey” and the “Tibetan Book of the Dead,” and by God, he has the verve and the special-effects budget to pull it off…Noé has here completed a journey he began with “Irreversible,” a film in which you could first see his desire to dissolve the distinctions between past, present and future, between happening and not-happening, between the physical landscape and the mental one, between life and death.
This is a daring, thrilling, awful and wondrous film…I wandered out afterwards into the snow feeling dazzled, dizzy, exhausted, grateful.
“Thanks to Irreversible, the notoriously graphic film that stirred up Cannes and Sundance audiences a few years ago, Gaspar Noé is already well known as a pusher of buttons and a churner of stomachs. His latest, Enter the Void, is certainly not a departure from that, but it is quite a bit more palatable, not to mention more thematically mature. From a technical standpoint, it is a marvel. From every other standpoint, it is totally jacked up. But I mean that in a good way…
If the film sounds like it must be visually astonishing, it is. How were these sets constructed to allow so much overhead photography? Where are the cuts being made in the shots that look continuous but must have involved multiple sets? How much digital trickery is used? Like David Fincher, Noé loves to make the camera do impossible things and access impossible locations, and it’s not just to show off…it’s a powerfully bizarre movie, a psychedelic trip that must be experienced — not just seen and heard but experienced — to be believed.”