#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Tokyo’s nasty underside, seen primarily through the eyes of Oscar, a heavy drug user, whose sister Linda is a stripper. Oscar also has flashbacks to his childhood when trauma upends the siblings. Oscar’s drug-fed hallucinations alter Tokyo’s already-disconcerting nights, and after the police shoot him, he can float above and look down: on his sister’s sorrow, on the rooms of a love hotel, and on life at even a molecular level. The spectrum’s colors can be beautiful; it’s people’s colorless lives that can be ugly. And what of afterlife, is there more than a void?
Plot: This psychedelic tour of life after death is seen entirely from the point of view of Oscar, a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda. When Oscar is killed by police during a bust gone bad, his spirit journeys from the past — where he sees his parents before their deaths — to the present — where he witnesses his own autopsy — and then to the future, where he looks out for his sister from beyond the grave.
Smart Tags: #explicit_sex #drugs #anal_sex #lesbian_sex #drug_deal #lesbian #oral_sex #drug_use #love #stripper #love_hotel #afterlife #dmt #thong #female_rear_nudity #older_man_younger_woman_relationship #older_woman_younger_man_relationship #sex_with_friend’s_mother #go_go_dancer #psychedelic #nude_dancing
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|7.4 Votes: 1183 Popularity: 13.515|
Enter at Your Own Risk
One thing’s for sure, you won’t leave Gaspar Noé’s “Enter the Void” with comparisons ready. More than likely, you won’t want to think about it at all. Over two and a quarter hours, the film hijacks your consciousness like a potent hallucinogen, and leaves you feeling burnt out and brain-fried on the other end.
Is it worth the trip? Yes, with an asterisk. After all, the opportunity to see something this flagrantly original comes but once in a blue moon, yet it isn’t the sort of experience many will enjoy having. “Enter the Void” begins with a strobing title sequence that explodes into a first person account of drugs and death in Tokyo; it ought to come with a seizure warning. Compounding matters, almost every scene is designed to look like one continuous shot, with the camera being placed either behind our protagonist Oscar’s head, or behind his eyelids. As if the pulsating neon lights weren’t enough, we’re also subjected to the split-second blackouts of Oscar blinking.
Visually, “Enter the Void” is unlike anything I’ve ever seen, but it sure ain’t perfect. The problem, bluntly, is its amorphous, front-heavy structure. The first half plays out conventionally enough, beginning with what we assume is the end, and playing flashback catch up to contextualize the subsequent events. We arrive back in the present to neatly tie the knot, only to discover that Noé isn’t remotely close to finished telling his story.
Where he takes “Enter the Void” in its ethereal second half is actually pretty fascinating, conceptually. However, it feels like an entirely different film. Noé floats aimlessly back and forth across Neo-Tokyo (to support the ‘one shot’ aesthetic, he rarely cuts directly from one location to another, often necessitating that the camera move through walls and entire buildings). The film really wears its premise thin during this overlong stint, though the last twenty minutes mostly redeem it.
The conclusion is a little predictable given that the characters seem to be arbitrarily engrossed by the Tibetan Book of the Dead, but it works because it boils “Enter the Void” down to its visual core. Somewhere along the way, the lines of the narrative are obliterated and Noé takes a hypnotically beautiful and bizarre psychosexual detour that bridges the gap to his ending nicely.
In retrospect, it’s easy to remember the curious power of its final moments and marginalize the boredom that divides it from the first, much stronger hour. The film would almost certainly benefit from a second viewing, but I’m still not entirely sure that I would ever grant it one. I seriously question how Noé and his editor could stand to watch and assemble this film all day every day, because even their 137-minute finished product is a workout for the eyes. God help us if it were released in 3D.
But for better or worse, eyestrain is part of the experience, and “Enter the Void” is more an incomparable experience than a great film. It’s a shame that the vast majority of its potential audience will never even have the opportunity to see it projected, as I can only imagine home video will diminish its psychedelic impact.
The best recommendation I can make is that if, like me, you go out of your way to see distinctly different films, you’ll get your money’s worth with “Enter the Void.” Objectively, it’s hard to deny the incredible creative scope and visual audacity on display, but it’s also hard not to wish the whole thing were just a wee bit more succinct.
It ain’t perfect, but “Enter the Void” is original, and there’s no undervaluing that. Hell, I’ll try anything once.
I hope the shorter American release version has less of the back and forth flying sequences because they utterly stop the film dead.
I saw the NY premiere of the directors cut last night and all I can say is I was extremely disappointed.
This is the story of Oscar, who along with his sister Linda are living in Tokyo. While Linda goes off to her job as stripper Oscar stays home to get stoned. When his friend Victor calls wanting his share of the drugs that they are to sell together Oscar goes off to The Void bar, Unfortunately Victor has set Oscar up and he ends up dead. From that point on we watch as Oscar looks over his life and friends from the other side.
Told in a POV style (with an annoying blink during the living scenes) we see everything from Oscars POV. This allows for some trippy visuals as we see what he does during his drug trip. Some of this material is some of the most amazing visuals put on film and it needs to be seen on a big screen. Unfortunately we also get seemingly endless shots of flying over the city, through walls, over roofs, down every street that Oscar travels going from place to place. The monotony is of it is deadening especially at a length that is 20 minutes short of three hours.
As a fan of the director I have admired his ability to shock his audience and to make us think. Unfortunately his power to shock is missing as the most jarring scenes are the ones that repeatedly show a loud violent car crash. The shock comes from the noise and not the image or ideas. Indeed even an abortion and a lots of graphic sex fail to get a rise because they are weakly handled.(actually the sex with its glowing genitals had some of the people around me laughing hysterically) Noe’s ability to make his audience think is also gone with most of the points about the cycle of rebirth and Oedipal desires in sex being unoriginal and seeming to have come from a highlight postcard of interesting ideas and a fudged synopsis of the Tibetan Book of the Dead.
In fairness to Noe, had the film not been so long, thanks to the endless travel sequences, this might have been a great film, but the over length and monotonous imagery sink the film. (I’m hopeful that the shorter American version actually corrects this.) If you have any interest in the film do see it on a big movie screen since the visuals, which are often amazing, will be best served. (And the opening credits will knock your socks off. The audience last night gave them a sustained ovation) Personally This is an interesting misfire that has left me wondering if Noe has lost his ability to really tell a story since all his films since Irreversible have been severely lacking.
Almost a good movie.
Original Language en
Runtime 2 hr 41 min (161 min), 2 hr 22 min (142 min) (UK)
Rated Not Rated
Genre Drama, Fantasy
Director Gaspar Noé
Writer Gaspar Noé, Lucile Hadzihalilovic (with the help of)
Actors Paz de la Huerta, Nathaniel Brown, Cyril Roy, Olly Alexander
Country France, Germany, Italy, Canada, Japan
Awards 4 wins & 8 nominations.
Production Company Eurimages, Les Cinémas de la Zone, BUF, Filmförderungsanstalt, Orange Cinéma Séries, Filmarto, Wild Bunch, Canal+, Fidélité Films, Essential Filmproduktion GmbH, Ministère de la Culture et de la Communication, BIM Distribuzione
Sound Mix Dolby Digital, DTS
Aspect Ratio 2.35 : 1
Camera Aaton XTR Prod, Zeiss Ultra 16 Lenses, Arricam LT, Zeiss Master Prime Lenses
Laboratory B-Mac, Paris France, Imagica Corporation, Shinagawa-ku, Tokyo, Japan
Film Length 3,918 m (9 reels)
Negative Format 16 mm (Kodak Vision3 250D 7207, Vision3 500T 7219), 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 16 (source format), Super 35 (source format) (some scenes)
Printed Film Format 35 mm (anamorphic) (partial blow-up) (Kodak Vision 2383), D-Cinema