Enter The Void

This absolutely stunning new film comes courtesy of Gaspar Noe. It is nearly difficult to say anything at all. It is completely wild, completely overpowering, completely brilliant. It keeps one thinking while it makes a truth of that old cliche; it 'blows one away'.
It all starts with the credits, it damages the eyes, makes one be both stunned and laugh with the film's visual audacity. It genuinely does something with the cinema image, using to effect the audience beyond the traditional technqiues. It deliberately, throughout, confronts the audience physically. It moves on to doing this thematically; deliberately pushing the limits in some of its contents.
The narrative coming out of it couldn't be too simple, and it isn't. The nearly entirely well handled stories are really an expression of the inner mentality of the world. Not that this is a simple subjective piece of psychologising; the idea of using a camera that floats above, or with Oscar as a sillouhetted block in the foreground, places us as either a plot heavy watcher or constantly aware of a distancing mechanism, as much from the audience to the screen as from Oscar to the action. Their is a kind of deliberate over formalism about the settings and so on; it is a wonderland, almost literally in that the fluorescent model turns onto reality.
This is a smart film though, that genuinely wants to investigate its themes. It does not shy away (to say the least) and genuinely delves into psychosexual undercurrents, chucking us deep into the darkest depths, that, whether they are there, are undoubtedly worth investigating. Are we in hell here? Perhaps. Or purgatory. Perhaps the most profane; could we be in a kind of heaven, of mother's milk?
It remains to be seen how long this film will stay in the mind, if it will last. For now, we have a film that stuns, but has more than just provocation. Smart backlighting gives the characters a delicacy, in the hair and the pudginess of their skin. It is not an anti-humanist film, but formally engages in a king of hyper-humanism, taken from context and supplanted in the new fastest world. Perhaps a masterpiece, for now, all we can say is that, on leaving the cinema, we have barely felt what we have here ever before.