Enter the Void (2009)

Gaspar Noé doesn't do conventional. Seven years after the controversial and devastating Irreversible he returns to the big screen with his most ambitious, and challenging film yet. Enter the Void is not what you would call an easy watch, it is however a technical marvel and a powerful and ground-breaking work of true vision and ambition. Set in the neon glow of Tokyo the story follows a small time drug dealer, Oscar. He lives in a small flat with his sister, one night he goes out on a deal and things go very wrong indeed. For the next two hours the film then traces Oscar's transition into the afterlife, as he literally flashes back and forth throughout his life, as well as visiting the people he loves as we see how his death affects them. Loosely based on the Tibetan book of the dead Enter the Void is literally a descent into the unknown, a sensory experience as much as a traditional narrative, but one that is never less that gripping and fascinating.
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Always on the cutting edge of film-making Noé here, after the amazing and eye-watering opening credits sequence, spends the initial part of the film with Oscar in first person mode, we see through his eyes (even including the blinks, which have been added). It's a technique that has been done before, but never on this scale or for such an extended period of time. It is quite unsettling and effective. Once Oscar leaves his body, so do we, the camera freed from its prior confines it swoops and flies around the city with abandon, a technique that is stunningly executed. As Oscar visits his friends and family, we follow. What Noé does well here is personify the objective camera, as Oscar's spirit we observe but don't interfere. The scenes are given real time to breath, the camera drifting lazily around in a way that become hypnotic. The ambient soundtrack is present throughout and imbues the film with an odd sense of calm and peace at times, despite the events being depicted. Make no mistake though, this is a film that in places is just as graphic and challenging as Irreversible. Noé doesn't shy away from the seedy side of life, but he doesn't pass judgement either. None of the characters in the film are particularly likeable (except perhaps Oscar's friend Alex) and many are actually played by non-actors. The film doesn't really suffer from this though, as they convince enough to ground us in Oscar's reality and history.
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The really interesting thing about the film is the non-linear way in which these visions and experiences occur. Concurrently with the events after his death Oscar also finds himself reliving moments from his past, from childhood up until the events at the start of the film. I liked the way certain thematic elements wove their way in between these sequences, there often isn't much dialogue but there is a strong enough visual thread to pull you through. As the film continues it pushes further and further out of the bounds of reality, finally collapsing in on an astonishing, brave and bizzare final sequence. Experienced as metaphor it embodies Oscar's desire for his friends to find happiness and connection as he comes to acceptance of his fate. There are heady themes here but it is also about interpretation.
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This is possibly a film many will hate, it is slow and tough to watch in places. It takes you on a journey and is uncompromising in its vision. Personally I found it remarkable, not only on a technical level (the way Noé uses CGI, models and other effects is stunning here) but on an emotional one as well. Irreversible was a powerful film, but a mean one with a nihilistic edge. Enter the Void is much more hopeful, and as such easier to engage with, one that as an artistic statement and experience resonated with me strongly.