Enter the Void, trailer & poster
Premiering at Cannes over a year ago, Gaspar No√©’s Enter the Void has passed its window of opportunity for further awards consideration — as if any movie this avant-garde could ever come close or deign to care about the Oscars. As much as his Irreversible angered and troubled me, it left a raft of unresolved impressions that I’ve returned to examine with increasing appreciation over the years. No√© is a director who seems to me almost incidentally provocative — sometimes stirring up the more furious emotional provocations as a necessary side-effect of the deeper thought-provoking treatment his films seek to administer.
If the trailer is not frenetic enough for you, check out poster after the cut for an eye-popping jolt of neon psychedelia.
‚ÄúEnter the Void,‚Äù his entry here this year, is an exceptional work, though less because of its story, acting or any of the usual critical markers. What largely distinguishes it, beyond the stunning cinematography, is that this is the work of an artist who‚Äôs trying to show us something we haven‚Äôt seen before, even while he liberally samples images and ideas from Stanley Kubrick and the entirety of American avant-garde cinema. The grungy milieu and calculated shocks might have been designed to make you flee ‚Äì even while your attention is tethered to the camera ‚Äì but, really, these aren‚Äôt the point. The point is the filmmaking…