Relive the funniest moments that happened before the opening credits of " The Office. Watch the video. Events over the course of one traumatic night in Paris unfold in reverse-chronological order as the beautiful Alex is brutally raped and beaten by a stranger in the underpass. French dancers gather in a remote, empty school building to rehearse on a wintry night. The all-night celebration morphs into a hallucinatory nightmare when they learn their sangria is laced with LSD.
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They were neck-deep in social nihilism, drowning in the worst of human nature. Here, death is not sad. It simply is. But it only happens just once in your life. By its nature it is extraordinary. If you are suffering or in pain, death is the best thing that can happen. First, the film dives into its opening credits, an assault of flashing words and staccato techno music. Just as we adjust to the anarchy, it dies. Cut to black. We talk with our sister Linda Paz de la Huerta on a balcony overlooking a world of neon and, after she leaves, smoke some DMT.
I myself, having admired his previous feature, Seul Contre Tous, reacted fiercely against it as a piece of macho provocation. Enter the Void is, in its way, just as provocative, just as extreme, just as mad, just as much of an outrageous ordeal: it arrives here slightly re-edited from the version first shown at Cannes. But despite its querulous melodrama and crazed Freudian pedantries, it has a human purpose the previous film lacked, and its sheer deranged brilliance is magnificent. This is a grandiose hallucinatory journey into, and out of, hell: drugged, neon-lit and with a fully realised nightmare-porn aesthetic that has to be seen to be believed. This film, however, has a new motif: what we see is purely the point of view of its leading figure; we watch everything through his eyes. He is a small-time drug-dealer called Oscar Nathaniel Brown. His spirit hovers over the city, an unquiet ghost unable or unwilling to leave, watching over his sister Linda Paz de la Huerta , a pole-dancer now utterly alone in the world.
Set in the neon-lit nightclub environments of Tokyo , the story follows Oscar, a young American drug dealer who gets shot by the police, but continues to watch subsequent events during an out-of-body experience. The film is shot from a first-person viewpoint , which often floats above the city streets, and occasionally features Oscar staring over his own shoulder as he recalls moments from his past. With a mix of professionals and newcomers, the film makes heavy use of imagery inspired by experimental cinema and psychedelic drug experiences.
