Enter the Void

As with most of Noé's films, Enter the Void is a bright, bratty middle finger, making it the perfect setting for a natural-born provocatrice such as de la Huerta.

It's a form of atheistic spiritualism that Noé treats as sci-fi, like a drug-fueled melodrama as told by 2001's star child.

Enter The Void is ridiculous, funny, shocking and crazy - but it's also utterly seductive.

In visual terms, it's a whiz-bang marvel of swooping and soaring camera work and psychedelic imagery, lit by the gaudy fluorescence of Tokyo's seamier nightclubs.

If you yourself are stoked for a lurid, oversexed, stupid-with-Freud Midnight Movie extravaganza -- a trip to El Topo via Mulholland Drive -- there are worse ways to spend 2 1/2 hours.

[It's] certainly an immersive experience that's decidedly difficult to shake. The problem is that it's also the most excruciating sit in recent cinematic memory.

…a phantasmagoria of drugged-up weirdness is something of an acquired taste, but its also ambitious, original and visually stunning…Gaspar Noe’s no-hold-barred POV approach certainly delivers a shock to the system for unwary viewers…

An attack on the senses...

...unlike anything you have ever and most likely will ever see.

I'm beginning to think the star of most Gaspar's pictures is the lens itself.