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Enter the Void 2009 123movies

Enter the Void 2009 123movies

Jun. 17, 2009161 Min.
Your rating: 0
9 1 vote

Synopsis

Watch: Enter the Void 2009 123movies, Full Movie Online – 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: #drugs #explicit_sex #lesbian_sex #character’s_point_of_view_camera_shot #drug_use #drug_deal #subjective_camera #stripper #hallucination #drug_dealer #dmt #psychedelic #lesbian #breast_feeding #abortion #penis #oral_sex #life_after_death #death_of_father #death_of_mother #afterlife


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Ratings:

7.2/10 Votes: 80,786
72% | RottenTomatoes
69/100 | MetaCritic
N/A Votes: 1477 Popularity: 13.121 | TMDB

Reviews:

A good film in desperate need of editing
Saw this at the Melbourne International Film Festival. Whilst I didn’t enjoy Noe’s first film I Stand Alone, I loved Irreversible.

There is lots to like about ETV and much to dislike as well. An hour into the film and I would have given it perhaps an eight or nine but by the end of the film I was frustrated. Why? Noe just can’t help himself and you get the feeling he either didn’t know how to end the film or simply just wanted to be shocking for the sake of it.

Visually, I couldn’t help but be impressed. Some amazing shots, lighting (strobe) and editing techniques. Noe also mixes up the story well as he did in Irreversible. You are not spoon fed the story and I love the way he told the back story of the two leads.

Plenty of people walked out at the screening after the hour and forty minute mark and I couldn’t blame them. Probably not because they were shocked but just bored and frustrated. Noe pads this out and it is such a shame as overall it ruined the film as a whole.

The acting is quite wooden and doesn’t ring true but that is only a minor quibble when compared to the film’s bloated running time.

Hard to fault Noe for his creativity, energy and style and refusal to follow norms in terms of narrative structure etc. Still, I wish a friend or colleague had tapped him on the shoulder or given him some constructive criticism about the last half of the film.

I can only imagine how much footage Noe might add into a Directors Cut – Lord help us. Perhaps he could learn some lessons from this and streamline his storytelling and not feel the need to bludgeon the audience just for the sake of it.

Review By: sharkies69
Good for the first 1/2 hour, then went downhill with pure indulgence…
** Some spoilers, but nothing major **

I saw this film at Sundance Film Festival (at the famous Tower Theatre), and my expectation has been met. That Argentine-born French director Gasper Noe goes farther with more “artistic” freedom with each successive film.

I’ve seen I Stand Alone, which I thought reeked of absurd indulgence, and Irreversible, which is dazzlingly weird and morally perplexing. I give Monsieur Noe credit for being wildly unconventional and creative with bizarre cinematography and editing that accomplish the mood as intended. Like Kubrick, anyone is incapable of imitating Noe’s style with fresh relevance to the meat of the otherwise simple story, because it’s his unique style that stands out from hack works by other contemporary filmmakers.

Enter the Void is more of a director’s film, because it’s overlong (so long some tedium is felt (intended or not), and at least half an hour could be trimmed without losing story’s essence; more on that later) and, because he could make a film to his specification as he pleases, base in artistic excess, audiences’ plea for respect be damned.

From the opening credit, which is superbly creative (one of the best opening credit sequences I’ve seen), to the death of a protagonist to reminiscences to the reincarnation, it’s a dazzling experience in one sitting, on only one condition. The condition is you have to bear the blunt of the unbelievably explicit sexual content with some profoundly disturbing thematic elements that will rankle your nerve on the philosophical question of ethics, values, mortality — not to mention human sexuality.

In other words, you must be prepared to partake in the experience. I expected and it disturbed me to an extent, exactly as Noe intended. However, I think Noe went way too far with explicit sexual content that detract from the cinematic visual splendor and story. This film is borderline pornographic towards the ending, which is so discomforting and gross it’s banal. For that reason I rate it low. Too indulgent for the sake of offending the audience’s mores as maximally as possible.

I expect a story, not indulgence for the sake of art. Lengthy “Love Hotel” sequence — 10 minutes long or so — will be synonymous with sheer indulgence in “artistic excess,” if that should convey a meaning. It’s not art — it’s meaningless to point of obscenity.

The first half hour with the wild opening credit and protagonist’s point of view in drug experience, interaction, and spirit traveling around with the screen filled entirely of rapid flashing lights for seconds, as well as impressive single-shot scene involving cinematic tricks for seamless POV, has merit in terms of worth seeing.

But when the scene involves the protagonist’s sister in the dressing room at the nightclub, with a sleazy Japanese club owner, that’s when the momentum begins to wear off and film progresses to never-ending disturbing crescendos; it continues for way too long that tests the audience’s will and grit to tolerate the repetitive and disorienting flyovers and often indulgent scenes.

The measure of indulgence causes harm to the film’s supposed artistic pretenses later. The more indulgent, the more it became absurd and tedious.

There is no doubt Enter the Void will be a hit as a cult film for the small audience because of weird drug scenes in POV, like when hippies would smoke marijuana to get baked while watching 2001: A Space Odyssey. A good artistic merit as we see what the point of view from a drug-induced mind is like.

But the film, overall, is simply too damn indulgent for its own good. It loses merit as a film that concludes with a gross intercourse POV scene leading to a ham-fisted metaphorical ending.

Certainly a pretentious and obscene film, and I’m sure the majority of native French people thought Noe is nuts for going too far with the realm of film-making as an art form. Because France led the cinematic movement with innovations and pleasant aesthetics in early 20th century, 21st century French film devolves to obscenity for art’s sake to satisfy the artist’s narcissistic curiosity to stretch the limitation of tolerance in the audience’s mores, just like English painter Jenny Saville.

They try too hard to provoke because it’s part of their ego — the need to exist by pissing off people as many as can be, and still get some praise and derision. They specialize in polarization. Enter the Void fits this description like a glove, and Noe takes pride in extending art to the cutting edge of palpable obscenity as raw emotive art to guage our mores at visceral, spiritual, and moral level in an effort to mock mere respectable decency in common humanity.

If you want to protect your decent humanity, walk out when the aforementioned scene appear. It becomes nihilistic in undermining your belief in humanity, the way Noe intends because he doesn’t care who and where you are. All that matters is how you perceive the world if the film will affect you. Those who are able to sit through the film with iron-clad stomach deserve being congratulated for tolerance, with individual humanity intact upon leaving theatre.

* 1/2 out of 4

Review By: Michael Kenmore

Other Information:

Original Title Enter the Void
Release Date 2009-06-17
Release Year 2009

Original Language en
Runtime 2 hr 41 min (161 min), 2 hr 22 min (142 min) (UK)
Budget 13000000
Revenue 754249
Status Released
Rated Not Rated
Genre Drama, Fantasy
Director Gaspar Noé
Writer Gaspar Noé, Lucile Hadzihalilovic
Actors Nathaniel Brown, Paz de la Huerta, Cyril Roy
Country France, Germany, Italy, Canada, Japan
Awards 4 wins & 8 nominations
Production Company N/A
Website N/A


Technical Information:

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

Enter the Void 2009 123movies
Enter the Void 2009 123movies
Enter the Void 2009 123movies
Enter the Void 2009 123movies
Enter the Void 2009 123movies
Enter the Void 2009 123movies
Original title Enter the Void
TMDb Rating 7.384 1,477 votes

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