Enter the Void
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The Art of First Impressions: How to Cut a Movie Trailer
by Stephen Garrett on Jan 13, 2012
Stephen Garrett on crafting a winning trailer -
The Cinema is a Train: On Steven McQueen’s Hunger
The Cinema is the Train: Part One Economy of Narrative + Abundance of Truth = Poetry in Cinema In an earlier essay for Filmmaker, I argued that “…cinema’s ‘vocabulary of forms’ is typically under-utilized… While there are any number of cinematic languages that could exist, most of the time films tend to rely heavily upon what we could call the basics of film grammar – shot/counter-shot, close-ups, wide shots, over-the-shoulders and reverses, as well as certain editing paces and conventions of lighting and score,” and went on to praise Enter The Void for its progressive formalism. In keeping with Jean-Luc […]
by Zachary Wigon on Aug 24, 2011 -
Kanye West Debuts Enter The Lights ( All Of The Void )
As followers of my Twitter feed know, for me Kanye West’s My Beautiful Dark Twisted Fantasy was the defining album of 2010. A new video directed by Hype Williams has just dropped for “All of the Lights,” featuring Rihanna and Kid Cudi. I hope something — a check, case of Cristal, or maybe just an autographed poster — is winging its way to Mr. Gaspar Noe. (Or, on second thought, there are a bunch of songs left on the album without videos. “Monster” is already taken, but what about “Hell of a Life”? I’d love to see what the great […]
by Scott Macaulay on Feb 19, 2011 -
THE ANXIETIES OF “LET ME IN” AND “ENTER THE VOID”
Two new pieces up here at Filmmaker. In the latest “Into the Splice” from Nicholas Rombes, he goes to a lonely multiplex on a Monday night to see Let Me In, stewing on the way to the theater over the sacrilege of its production: I went to see Let Me In with low expectations. Like so many, I had seen and been awed by the original Swedish version, Let the Right One In (directed by Tomas Alfredson), whose quiet pacing and lonely stretches of relative silence only made the horror more horrible when it came. An American version, surely, would […]
by Scott Macaulay on Oct 15, 2010 -
A Movie is Like a Person: Enter the Void
“Then, too, there is always something other than content in the cinema to grab hold of, for those who want to analyze,” Susan Sontag wrote in her seminal essay Against Interpretation. “For the cinema, unlike the novel, possesses a vocabulary of forms — the explicit, complex, and discussable technology of camera movements, cutting, and composition of the frame that goes into the making of a film.” Toward the very end of the same essay, she advocated, “The function of criticism should be to show how it is what it is, even that it is what it is, rather than to […]
by Zachary Wigon on Oct 15, 2010 -
SUMMER ISSUE ONLINE
Select stories from our Summer issue are now available, including this year’s 25 New Faces of Independent Film. (Read the press release here.) You can now read online our interviews with Amir Bar-Lev on his new doc, The Tillman Story; Gaspar Noe talks about his psychedelic look at the afterlife in Enter the Void; we look at the latest innovations in DSLR cameras; and some of our friends give their favorite apps, program and Web services. Plus, Lance Weiler’s Culture Hacker column focuses on transmedia while Anthony Kaufman’s Industry Beat looks at the realities of the Do It With Others […]
by Jason Guerrasio on Jul 20, 2010 -
The Trip: Gaspar Noe’s Enter the Void
Beginning with the dying moments of a young drug dealer in Tokyo, Gaspar Noé travels deep into our subconscious to explore what happens after we Enter the Void.
by Brandon Harris on Jul 20, 2010 -
Gaspar Noe’s Enter the Void Opening Credits
While checking out the Lovely Machine website because I’m doing a panel with filmmaker Gregory Bayne today at The Conversation I came across his blog, which has some very tastefully curated links. To wit: the opening credit sequence of Gaspar Noe’s Enter the Void. This has been floating around the web but it’s the first time I caught up with it online. These credits are pretty amazing — check them out. Related: Michele Civetta on Enter the Void here at Filmmaker.
by Scott Macaulay on Mar 27, 2010 -
Gaspar Noe’s Enter The Void By Michele Civetta
The Further Adventures of Death Tripper, Ouroboros and What lies Beyond Jupiter Cannes, France. In a cinematic year filled with visions of extreme sex and violence, the enfant provocateur of French cinema Gaspar Noe illuminates a phosphorescent direction forward. In person Noe could be mistaken as the progeny of Aleister Crowley with sunken-in, charcoal-lined eyes and shaved head. But lurking behind this visage is a filmmaker who courts controversy with vivacity and confidence. The last time Noe was at Cannes was to premiere his film Irreversible; he ingratiated himself into the hearts and minds of audiences willing to be subjugated […]
by Scott Macaulay on Sep 5, 2009
