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Enter the Void

Enter the Void

Fantasy · Drama · 2010

This psychedelic tour of life after death is seen entirely from the point of view of Oscar, a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda. When Oscar is killed by police during a bust gone bad, his spirit journeys from the past -- where he sees his parents before their deaths -- to the present -- where he witnesses his own autopsy -- and then to the future, where he looks out for his sister from beyond the grave.

Movie details

Enter the Void

2010 Fantasy · Drama 2h 41m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

This psychedelic tour of life after death is seen entirely from the point of view of Oscar, a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda. When Oscar is killed by police during a bust gone bad, his spirit journeys from the past -- where he sees his parents before their deaths -- to the present -- where he witnesses his own autopsy -- and then to the future, where he looks out for his sister from beyond the grave.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Enter the Void?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Gaspar Noé

Written by

Gaspar Noé

Paz de la Huerta

Paz de la Huerta

Linda

Nathaniel Brown

Nathaniel Brown

Oscar

Cyril Roy

Cyril Roy

Alex

Olly Alexander

Olly Alexander

Victor

Masato Tanno

Masato Tanno

Mario

Ed Spear

Ed Spear

Bruno

Emily Alyn Lind

Emily Alyn Lind

Young Linda

Court is in session

Put Enter the Void on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.