(Pictured right: Gaspar Noe and Simon Abrams. Photo taken by Susan Norget)

Though writer/director Gaspar Noé is probably most well-known for the graphic and seemingly interminable rape scene in Irreversible, his second feature, it's very hard to make charges of being a provocateur stick. The man's intuitive style of filmmaking and fascination with the interplay between corporeality, taboos and the afterlife precludes the assumption that he is knowingly trying to push your buttons. Enter the Void, his trippy third feature, continues in that tradition, focusing on the risqué relationship between Oscar (Nathaniel Brown) and his estranged sister Linda (Paz de la Huerta).

Enter the Void is, amongst other things: a 161 minute-long hallucinogenic trip, a love story, a roller coaster ride, a ghost story, a very loose memoirs, an homage to 2001: A Space Odyssey and a further extension of Noé's career-long exploration of the role of rough sex in a Buddhist-inspired cycle of reincarnation. I spoke with Noé recently to talk about the film, the difference between the director's cut and the theatrical cut of Void and what his favorite hard drug is.

It's interesting to see how you structure Oscar's thoughts in Enter the Void because, as in Irreversible, we're so immersed in the protagonist's point-of-view. How does that affect the way you wrote the character (in your script)?

Noé: I didn't really write the character; his name is Oscar, which is really close to Gaspar. I started by using my own name for the main character but then, because the movie's not really autobiographical. I thought it could be tricky because people might assume that's about my life and it's not about my life, although I know many people who are like the main character. I was (however) considering putting my own voice in the French-dubbed version. I dropped that idea because now, I'm 46 and my voice doesn't sound anymore like a twenty year-old kid.