SPOILER ALERT: This article reveals plot details about the first 30 minutes of Enter the Void.The clip below reveals no plot information.
Saying that Gaspar Noe isn't much for subtlety is akin to saying that Tony Scott isn't much for... subtlety. Okay, bad example, but the point is that Gaspar Noe is especially loud and confrontational as far as filmmakers go - hell, the man's work is especially loud and confrontational as far as stage 5 hurricanes go. His latest and greatest is an expertly crafted and unrelentingly psychedelic bit of madness called Enter the Void (hitting theaters and scrambling your brain on September 17th), an 160-minute first-person journey through the death and reincarnation of a drug-dealing American youth named Oscar, as outlined in The Tibetan Book of the Dead. A crazed, transportive, and hypnotically arresting treatise on the soul's relationship with the body (and the body's relationship with ACID), Enter the Void is a new cinematic experience. It's facile but brilliant, meandering but relentlessly focused, sexually explicit but imbued with an innocence the likes of which would be jarring even for a Pixar film, and despite being an endlessly indulgent slog that hopelessly blots out the world beyond the dark of the cinema, it'll have you cheering you at the screen in its first 62 seconds. If it doesn't, ask for your money back and head for the hills because you're in for a rough ride.
Describing Enter the Void's opening credits, YouTube commenter Spell01 said "I think I had 12 seizures." That sounds about right. Seriously, if you're prone to epileptic seizures, stay as far away from this movie as humanly possible - it will make you very, very dead. Noe introduces you to the world of his film with a canon to the face, piercing the darkness with a rambunctious spasm of noise and color. Underscored by the soothing sounds of LFO's "Freak," the barely perceptible Wild Bunch logo immediately announces that - for better or worse - you're in Noe's world, now. Despite (or perhaps because of) being a sledgehammer of stimuli, the 62 seconds that follow are as appropriate and telling an introduction, warning, or base summation of the 2.5 hours to come as the opening credits of any film have ever been.