Gaspar Noe’s Enter the Void, which opened Friday in New York and Los Angeles (and will soon be available on demand, I think), is spectacular, maddening, technically brilliant, sophomoric, unsubtle, mature… what am I forgetting? I don’t know. You could make stew out of the adjectives that would work in that list. It’s a movie that, if you love movies, you have to see. (By no means do I mean to suggest that you’ll definitely love it. You very well may loathe it.) It is truly, and I honestly feel I’m saying this without hyperbole, not like any movie you’ve seen before.
Noe is an infamous and incorrigible provocateur. There’s no one moment in Enter the Void as confrontationally horrific as Irreversible’s fire extinguisher or tunnel rape scene, but it does contain many instances of hardcore sex and gynecological grotesquery. That aspect of the movie, though, is an afterthought to me. I saw it foremost as an attempt to expand the language of film.