Genial.

I really have no idea what to say about this. Visually amazing, stylistically brilliant, technically epic...plot? What plot? Okay so there was a plot...sort of. I watched this one night, decided to sleep on it to see if it made more sense in the morning but it made even less sense if anything. Basically it's a Kubrick film if Kubrick happened to be on hallucinogenic drugs the whole time.

Worst acting I have ever seen, could use some whittling down on a few scenes, but the experience is not so much a "trip," as the plot isn't difficult and its tendency is to jar too glibly, but a nightmarish abstraction, forcing you to stare death in the face and then wake from a dream.

I'll have to agree on the general consensus that this needed some serious cutting. But, my god, what a first hour. It's so immersive for a moment there I thought I was in Tokyo. While stoned. And discussing some crazy shit with a buddy on my way to the Void.

Exhilarating in its technique, but stultifyingly repetitive and one-note in its narrative urgency (or lack thereof). While the thematic heart of the film lies in its treatment of death ("the void") as the ultimate drug trip/out-of-body experience - ending either in reincarnation or repeating as an endless cycle - that doesn't excuse the film for being so shallow. Still, its ambition and technique is enough to give it some value. To be honest, I wish it had eschewed plot entirely.

Ambitious, to say the least. Noe uses his own visual language to tell this story, and while its powerful, it can get a bit overbearing and repetitive. But damn, if you want to be immersed in one of the most unique film experiences this century, well, here you go.

overhyped and incredibly hipster film

A film which captures the objective correlative of...traveling through time and space as a disembodied spirit? Brass tacks: fucked up movie that kinda makes me sick while watching people run around like ants. I think Gaspar's purview kinda makes itself obvious here. But damn, what a trip, enough to make me believe Noé.

here's what i get: it's a movie about death and afterlife, a soul's voyage into reincarnation...and people fucking. seriously, in true french fashion, the more people are shown humping, the more artistic it seems to be considered. "mon dieu, i donno what to do nexte...let's show som boobiése and penétration, tout de suite!" i'm sure there's some sort of message going along with all this, but i failed to get it, and though there are some really awesome visuals i won't be sitting through it again.

Some of the cinematography is neat-looking, but the film quickly devolves into something quite silly and repetitive.

It's brilliantly shot with lots of great ideas and visually stunning...which lasts for about one hour. after that it becomes an an infinite loop of random flying and porn scenes and you just sit there and hope for it to end...

Behind all the fancy camerawork is a drama that is more underplayed than his last to efforts but as bleak as anything I've seen from Noé. The relationship between brother and sister is handled with great finesse and the back story told effectively, if a bit slow. Unfortunately, after 100 minutes or so the film get's increasingly shitty in it's pacing and looses itself in trippy cinematography without enough substance. But in the end the story is cruel enough to make it worth a watch.

I don't know. The acting was atrocious. And Noé's desperate need to shock was laughable -- especially during one "penetrating" scene. But, it was completely unlike any movie I've ever seen, and I can't get it out of my head. If it were 50 minutes shorter and had decent actors, this could have been a real classic. And, with a a different, less provocative director.

I feel as though any little blurb I give will either be obvious as hell an ill conceived mishmash of random thoughts. Instead I'll just say this. I've thought for a long time now that it's fairly ridiculous to stage contemporary films like plays. Maybe that was necessary in the Golden Age of Hollywood when the cameras so damned fragile and unwieldy, but we've moved past that now. It's refreshing beyond words how Enter the Void manages to disregard all of these conceits we got from the stage.

Yeah yeah, towards the end of the film it just gets boring and rather pointless, and a great deal of this is pretty pretentious, but it's full of memorable images and the first half is just too pretty looking for me to hate. The concept in itself is ballsy and I got the impression that I was viewing something fresh and innovative. However, aside from the gloomy atmosphere of hopelessness, I don't think this really had anything to say. Gotta give credit where it's due, though.

Best movie I've seen in a while. A must see. Kind of "dull" story, but the visuals and filming technique is amazing.

story ends in 30 minutes, all the colours and visual effects stop being interesting in an hour and the other 100 minutes are just "waiting for the end to come"-- the "disgust the audience" approach is no longer revolutionary ... Tokyo is kinda cool ,though

I really wanted to like it, but I couldn't. This is too fucked up for me.

Strobing: the movie.

What a complete 180 of opinion a rewatch causes, changing my disappointment with this to admiration. Its not perfect, and I still have issues with the Freudian references (the mother aspect), but I have found something in the film when I didn't before. Noé is as a subtle as a sledgehammer, and its not really about Japan, but its an intense drama where he does everything he can to push the medium. The result took two viewings for me to admire, but I extremely happy I've changed my opinion.

Engaging and labyrinthine movie. The plot itself is paper-thin and, by the end at least, rather predictable and disappointing, but what Noe does with time is, again, something very special indeed.

Really, truly, unlike anything else I have ever seen. Of course, the techniques aren't necessarily new--a bit of Kubrick here, a bit of Anger there, with a heavy dosage of the flicker film tradition--but the way in which Noe deploys them bleeds originality, creativity, and daring. Unlike many others, I found the time to fly by--163 minutes, just like that. And though it will test audiences' patience, it *must* be experienced at least once. Haunting. Nightmarish. Bleak. But spectacular.

The ending was very aimless. Amazing visuals, decent enough story, but it felt like an excuse to use these visuals mostly.

ETV doesn't tell us about afterlife- it tells us about this world: a reality of escapist desire. In Buddhism "void" is the goal outside our world of suffer, but for Noé it's This reality - its emptiness, but also its essence as the closest we might get to, well, anything. Using Bach as a symbol of eternity during the endless Freudian dreams and referring to "2001" through birth And abortion was inspiring. Still,the real revolution it offers lies at the astonishing camera technique and movement!

A nonstop barrage of camera trickery and special effects. It looks amazing, but I wasn't a huge fan of the paper thin story.

Enter the Void angered me. There's an admirable film buried in here somewhere. Fuck experimental when it means such extreme overindulgence and length. It's an interesting experience.. but that is all I can say. An experience. Not a movie.

It seems to struggle with its own cynical grasp of reality along with a juvenile conceptualization of spirituality as envisioned by Noe. The need for the characters to provide constant exposition in the form of banal unrealistic dialog is one of its most glaring problems aside from the mediocre acting. Despite the flaws it still has some of the most haunting visuals and soundtracks i've seen on film. This is a bold and memorable piece of work.

I tried to like it, I really did, but I just could not get into it. Drawn out scenes of nothing, it seemed to drift from one thing to the next without anything to join them together. You will either love or hate it - give it go.

71.500