ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

ako je verovati ovoj vesti, trebalo bi da je POČELO snimanje dugo najavljivanog i dugo čekanog novog filma gašpara noja!

According to the independent English agency Curtis Brown (www.curtisbrown.co.uk) the shooting of Enter the Void would begin in Tokyo on Friday, October 19, 2007 with Olly Alexander in the lead role of "Victor" and Sara Stockbridge ("Spider" by David Cronenberg) as his mother "Suzy."

we know that it is simply very freely adapted from the Tibetan Book of the Dead and it takes place against the backdrop of drug trafficking. Noah is considering it as a psychedelic film actually somewhere between ALTERED STATES Ken Russell and JACOB'S LADDER.

   

go gaspar go!!!

Da, to sam i ja čuo.

Sticajem okolnosti, poznajem par ljudi koji su Gasparovi prijatelji i ono što mi je iz njihovih priča neverovatno jeste to koliko se on čovek zapravo muči da spakuje ovaj film. Naime, još od 2005. se priča o ovom filmu i nikako da počne da se radi.

varajeti ga usro, al ko zna...

Enter the Void
Soudain le Vide (France)
By ROB NELSON

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'Enter the Void'
'Enter the Void'
A Fidelite, BUF, Wild Bunch presentation, with the participation of Canal Plus, Eurimages, Ministere de la Culture et de la Communication (CNC), Filmforderungsanstalt (FFA). (International sales: Wild Bunch, Paris.) Produced by Brahim Chioua, Vincent Maraval, Olivier Delbosc, Marc Missonnier, Pierre Buffin, Gaspar Noe. Directed, written by Gaspar Noe.

With: Nathaniel Brown, Paz de la Huerta, Cyril Roy, Emily Alyn Lind, Jesse Kuhn, Olly Alexander, Masato Tanno, Cary Hayes, Sara Stockbridge, Sakiko Fukuhara, Nobu Imai, Emi Takeuchi, Janice Sicotte-Beliveau, Simon Chamberland.

Billed by director Gaspar Noe as a "psychedelic melodrama" inspired by his hallucinogen-powered screening of "Lady in the Lake," "Enter the Void" suggests the Gallic provocateur should get some better drugs. Not clever enough to be truly pretentious, Noe's tiresomely gimmicky film about a low-level Tokyo drug dealer who enjoys one long, last trip after dying proves to be the ne plus ultra of nothing much. Having come in under the wire for Cannes competition, "Enter the Void" may once again be ready to enter the editing room.

While the overall audacity of the project can't easily be denied, "Enter the Void" delivers an altogether different kind of pain than the director's earlier pair of punishing provocations, "I Stand Alone" and "Irreversible." Not even Noe's detractors expect his work to be boring, but, at 162 minutes, the new film has more than its share of longueurs -- despite showing what happens after death as seeing a lot of people having sex.

Noe's opening scene of a Kubrickian "star child" journey -- triggered by the dope-smoking dealer's repeated tokes -- sends false promises that "Enter the Void" will be a methamphetamine-era version of the ultimate trip in "2001."

But, the film contains only a half-dozen or so vision-questing shots that could help it to pass as avant-garde. Some viewers will nonetheless insist on calling this an exercise in pure cinema; many others will prefer to describe it as pure trash.

Including graphic images of an abortion procedure, "Enter the Void" eventually becomes a vulgar version of a kid's "Where did I come from?" query, complete with a shot from the p.o.v. of an egg-bound sperm. It begins, though, merely as a puerile fantasy of what happens after death.

In the course of a drug deal gone bad, young Oscar (Nathaniel Brown) dies from a gunshot wound in the filthy toilet stall of the Void, a club that some will insist is of the same corpus as the Rectum in "Irreversible." Never subtle, Noe unleashes a literally flashy stroboscopic effect as our hero breaks on through to the other side.

Flashbacks reveal Oscar to have made a childhood promise to his sister Linda (Paz de la Huerta) -- now a stripper -- that he'd never leave her. True to his pledge, and despite having been cremated, Oscar floats spectrally through Tokyo.

Via digital effects, the camera -- i.e., Oscar's watchful spirit -- seems to fly above city streets, up the sides of skyscrapers, through walls, and down various passages including a fallopian tube and, appropriately, a sewer.

For better or worse, the film's production team has adequately fulfilled the director's wishes, which include far too many sweeping shots of neon-bathed Tokyo at night.

In terms of style, the film does begin with a certain integrity, mirroring the fully subjective approach of "Lady in the Lake," Robert Montgomery's 1947 noir. But soon enough, the camera is all over the place -- spiraling into the void of Oscar's bullet hole and out of a child's playground crawl space, for example.

In another stylistic copout, the film's many flashback scenes aren't arranged according to the character's drug- and death-induced free associations, but rather based on Noe's sense of what rudimentary info his audience may require to follow the barebones narrative.

Notwithstanding de la Huerta's full-frontal turn, the actors often perform with their backs to the camera. The film's English dialogue, exceedingly banal and overemphatically delivered, seems designed for international screening sans subtitles or dubbing. The soundtrack alternates between Christian organ music, bass-heavy club beats, and a persistent churning noise familiar to those who've seen Noe's other films.

More than two hours in, as Noe's camera roves at random through the so-called Love Hotel, the film peaks with a series of explicit sex scenes. The last of countless putative endings finds the director suggesting that after the one's umbilical cord is cut, it's all downhill from there.

In Cannes, the film was screened sans credits save for "ENTER" at the beginning and, aptly enough, "THE VOID" at the end.

Camera (DV, widescreen), Benoit Debie; editors, Noe, Marc Boucrot, Jerome Pesnel; production designers, Kikuo Ohta, Jean Carriere; costume designers, Tony Crosbie, Nicoletta Massone; sound (Dolby Digital), Ken Yasumoto; sound mixers, Ryotaro Harada, Claude Lahaye; re-recording sound mixer, Lars Ginzel; visual effects artistic director, Pierre Buffin; visual effects supervisor, Geoffrey Niquet; associate producers, Philippe Bober, Valerio de Paolis, Nicolas Leclerq; assistant directors, Jimbo Hideaki, Toshio Hanaoka, Michael Williams. Reviewed at Cannes Film Festival (competing), May 22, 2009. Running time: 162 MIN.

međutim, i ovaj ga posro:

Bottom Line: Utterly silly excuse for maximum debauchery from a once-talented director.
More Cannes reviews

CANNES -- No one ever said that in-your-face French director Gaspar Noe's previous film, "Irreversible" (2002), was a walk in the park. Featuring a sometimes violent but also often loving narrative told backward toward a heartbreaking innocence that was both its beginning and its ending (and that constituted the very proof of the film's talismanic motto, "Time destroys all things") -- as well as the notorious nine-minute anal rape scene of Monica Bellucci -- it greatly divided audiences.

With "Enter the Void," unfortunately, Noe has shown that while remaining just as self-consciously controversial, he has succumbed to the many unfounded rumors about his own brilliance. Opinion about this English-language film, however, is not likely to be divided.

It goes without saying that the film is violent, but its obsessive emphasis on sex and drugs -- to the point that most viewers are going to feel utterly bludgeoned by both -- makes it virtually unwatchable, especially at its unofficial "director's cut" length of 160 minutes. Commercial prospects seem remote, but its LSD and other drug-induced visual fireworks might ensure a long life as a cult film on DVD.

Oscar and Linda, whose parents were killed in a car crash when they were kids -- an accident that they witnessed -- have been finally reunited in Japan. Alas, Oscar has become a drug addict and dealer and Linda an exotic dancer with some extra-curricular activities on the side. Oscar is sleeping with his friend Alex's mother, and when Alex finds out, he contrives to get Oscar killed by the police in a raid on the club they frequent.

Amazingly, most of the story is told from the literal point of view of the deceased Oscar, using virtually the identical hand-held technique -- especially the spinning, stumbling-in-the-dark camera -- from "Irreversible." Noe purports to show us what happens after we die, and it turns out that very boring stuff is in store for us. The huge part of the story that is told in flashback has the camera right behind Oscar's head (so that, annoyingly, we rarely see his face); in the part of the story that happens after his death, all is shot from above, as from the POV of Oscar's hovering spirit. None of this contrived stuff is helped by the fact that Nathaniel Brown, who plays Oscar, is such a weak actor.

The worst part is that instead of cutting from one scene that the dead Oscar is observing to the next, Noe has decided to go through an elaborate kind of diving into light or black holes, followed by a camera that flies over buildings for several minutes in order to settle into the next location. This happens at least 20 or 30 times in the film, to the point that viewers will begin to long for the simple directness of a good old-fashioned cut.

Many flashbacks to the children's early trauma, along with other scenes, are unnecessarily repeated several times. The whole thing ends up presumably on a life-affirming note when virtually every character in the film -- even poor Oscar, now kind of enabled through the visual perspective of a friend to consummate his unspoken but obvious incestuous desires for his sister -- gets it on, and with relish. Couples coupling in fascinatingly diverse ways are shown over and over, and the whole thing ends in a kind of apocalyptic and ultra-silly sperm-meets-egg apotheosis that seems shot by what one wag of a critic later labeled a "vagina-cam."

It also is suggested that Oscar's spirit crashes into a baby named Oscar in a plane flying overhead, presumably leading to his reincarnation.

Section: In Competition

Sales: Wild Bunch
Production company: Fidelite Films
Cast: Nathaniel Brown, Paz De La Huerta, Cyril Roy, Emily Alyn Lind, Jesse Kuhn
Director: Gaspar Noe
Screenwriter: Gaspar Noe
Director of photography: Benoit Debie
Production designer: Marc Caro, Kikuo Ohta, Jean Carriere
Music: Thomas Bangalter
Special Effects: Pierre Buffin
Editor: Gaspar Noe, Marc Boucrot, Jerome Pesnel
No rating, 160 minutes

jedino je ovaj kao prijateljski:

Almost defying definition in contemporary cinematic terms, Gaspar Noe's third feature film Enter The Void is a wild, hallucinatory mindfuck for adults which sees the director explore new shooting techniques and ambitious special effects to capture a young man's journey after death. More experience than narrative, it runs to a massive 163 minutes, meandering and careening in and out of story and into visual realms and moods that are nothing short of hypnotic. It is a film that will instantly achieve cult status among young adults. If audiences care to, they can lose themselves in Noe's images and trip on his imagination. If they don't, they will be bored to tears.

Bound to divide critics and audiences as decisively as 2002's Irreversible, Enter The Void is clearly the work of a visionary mind who plunges into darkness literally and thematically at any given opportunity. Scenes here – from the graphic performance of an abortion to extensive drug use, violence and frequent, explicit sex acts – will render it a limited distribution prospect with the most prohibitive censorship ratings available. But with his first two features Seul Contre Tous and Irreversible, Noe has built a loyal following bound to lap up his latest no-holds-barred opus. Life on DVD could be even more profitable, and adventurous viewers will no doubt adopt the film as an accompaniment for booze and drugs use.

Still unfinished in its Cannes competition screening – and 13 minutes longer than the festival had advertised – Enter The Void begins from the subjective vision of the lead character, an American slacker and budding drug dealer called Oscar (Brown) living in Tokyo, complete with blinks that block out the image every few seconds. 30 minutes into the film, he is killed and from then on the characters and buildings are viewed from above as if he is watching.

Noe's use of crane shots both in Tokyo, in studios and in modelwork is staggeringly original, and he tracks characters through the city by speeding over the buildings from aerial vantage points.

The film starts as Oscar's sister Linda (the ever-naked De La Huerta) leaves the apartment they share to go to work and he then experiments with DMT – a drug which occurs in the brain during an accident or at point of death. While he is in mid-trip (which Noe visualises using animated spirals), Oscar gets a phone call from his English friend Victor (Alexander) asking him to bring his drugs to a local bar called The Void. He is joined by his Alex (Cyril Roy), a drug buddy of Oscar's whom Linda disapproves of.

But when Oscar walks into the bar, he realises that it is a setup and the police chase him into the toilet, eventually shooting him dead.

From then on, Oscar's spirit can only observe as Alex goes on the run from the police, Linda falls apart after his death and finds that she is pregnant by her clubowner boyfriend Bruno (Cary Hayes) and Victor is racked by guilt at his role in the incident.

But Noe also tracks back in time, to Oscar and Linda's childhood where we see the horrific car crash which killed their parents, and to the days leading up to Oscar's death in which Victor finds out that Oscar slept with his mother.

As the film enters its third hour, the plot goes out of focus as the film starts to explore sexuality and the creation of new life. A lengthy final sequence tracks couples having sex in Love Hotel (a studio creation based on the Japanese concept of love hotels) and new life is created. Indeed Noe actually shows us the penis ejaculating into the vagina in full frame glory.

The characters are all fairly uninteresting and some are indeed loathsome, but that is not the point. The film defies cinema convention in every way. It is almost like an adult video game with no rules, or an art installation which evolves into something immersive and sensory. One thing is certain. Spiked with all the tricks, sound effects and technological invention at Noe's disposal, Enter The Void is a trip.

Dži, Gaspar Noj napravio loš film! Sača srprajz! 

harv, banovaću tvoju egzistenciju!

Ju kent du det! Zar se nismo dogovorili da se vidimo u Banjaluci sljedećeg mjeseca i tim činom zajednički izazovemo smak svijeta?

ja sam jin, ti si jang (trovač);
kada jin ubije janga, balans na tasovima sveta se ruši, i tako nastaje smak sveta.

http://twitchfilm.net/news/2010/03/its-the-nsfw-japanese-trailer-for-gasper-noes-enter-the-void.php

kada cemo mi to mici da gledamo?

Enter The Void Trailer (NEW)

Vrlo gejmerski izbor perspektive, skoro da očekuješ da se protagonista u nekom trenutku zalepi za zaklon.

Dobar trejler. Čovek bi pomislio da je film u 3D.

A zasto ovog filma nema nidje da se pogleda, jel to neka urota protiv srpske nejaci ili sta ?

Zašto bi neko, pored toliko dobrih filmova, gledao "filmove" ovog antitalenta?

Da li postoji mogućnost da se Enter the Void nađe na programu ovogodišnjeg Festivala autorskog filma ili ćemo ipak da čekamo na divx?

Dok se živi ima i nade.

...Cinears se još prošle zime pohvalio otkupom ETV, videću šta će mi odgovoriti piarka, pa javljam...

...pojavio se TV rip za skinuti, ovo su odrednice...

Format: mkv
Length: 142 min @ 24 fps
Filesize: 2180 MB
Language: English
Source: TVrip
Audio: 128 kbps
Video: 720 x 272

...negde sam na trećini download puta, čim skinem, ako bude zaintersovanih, javljam o kakvom je kvalitetu ulova reč...

U (ne)kvalitet filma ne sumnjamo, javi samo kakav je snimak

...skinuo sam i raspakovao - reč je o blago zrnastom ali sasvim zadovoljavajućem TV ripu, a i ton je na mestu, mislim da ovaj rip može vrlo dobro da posluži za sticanje prvih utisaka... napomena - radi se o mkv formatu...

Konacnod a se pojavi neki rip

Enter.the.Void.LiMiTED.R5.XviD.TWiTZED

Enter The Void 2009 DvdRip XviD-Noir

nisam proverio rip, ne znam da li je zaista u pitanju DVD rip

Ja sam skinuo malopre, ne mogu bas da ocenim na 22" ali rekao bih da jeste dvd rip.

Meni se film jako svideo, bez obzira što gledanje nije uvek bilo baš uživancija.
http://www.youtube.com/watch?v=Qa1HlnyNjSw

od cetvrtka u dkc-u

Odgledano u DKC-u. Fascinantno i iznurujuće iskustvo.

Quote from: Kunac on 06-02-2011, 02:12:59
Fascinantno i iznurujuće iskustvo.

U potpunosti se slazem.
2:40 je zaista previse. Malo je umorio sa ponavljanjima, ali kontam celu pricu, koja je ispricana u prvih 20 minuta, tako da nam je ostalo samo vizuelno uzivanje u tripoznom, paranoicnom, neuro Tokiju...

Upravo tako. Svaka čast na viziji i tehničkim dostignućima. Ovo je vizionarski film, inovativan, drugačiji. Noe je uspeo da ponudi nešto novo - a to se jako teško. Ali... 160 minuta! Gledao sam ja i dzuže filmove, ali EtV u jednom trenutku kreće da se ponavlja. I dalje je vizuelno fascinantan i teško je odvojiti oči od ekrana, ali dođe do zamora. Ona preletanja preko Tokija su posebno zamorna u drugoj polovini.

uzasno dosadan i spor film,zanimljiv samo u prvih 30min.

Quote from: Kunac on 09-02-2011, 07:39:02
Upravo tako. Svaka čast na viziji i tehničkim dostignućima. Ovo je vizionarski film, inovativan, drugačiji. Noe je uspeo da ponudi nešto novo - a to se jako teško. Ali... 160 minuta! Gledao sam ja i dzuže filmove, ali EtV u jednom trenutku kreće da se ponavlja. I dalje je vizuelno fascinantan i teško je odvojiti oči od ekrana, ali dođe do zamora. Ona preletanja preko Tokija su posebno zamorna u drugoj polovini.

Naravno da su se gledali i duzi filmovi, moj rekord 6 sati, skoro odgledah "Love exposure" skoro 4h traje, ali to su drugacije tematike, gde ima prostora i opravdanost za duzinu. Ovde nisam to video, mada moram da priznam da su svi oko mene poceli da pricaju posle sat, i nisu se obazirali da li ce nekom smetati, pa su mi malo pokvarili utisak, jer nisam mogao u potpunosti da se udubim.
Po meni taco od nekih sat 40, dva, krece da pomalo umara sa tim ponavljanjima, ali opet nekako odusevi vuzuelno, i kao sto kazes, ne mozesh da odvojish oci od platna/ekrana.

Definitivno nesto novo i veoma inovatino, dobro ne toliko originalna prica ali odlicno upakovana, i predivno prikazana. Umesto da je ovaj film bio prosle godine na festu on se daje u DKC-u, nakon skoro dvogodisnje premijer u Kanu!

Hm, taj film zvuči kao nešto što bi se ipak moglo pogledati, s tim da isključim ton i pustim neku kvalitetnu new age muziku, npr. Kitara or something. Recimo onaj Irreversible je bio toliko loš da ga ni Morikone ne bi spasio.

Film je prvih sat vremena VR, odlicna drug story, a onda krece downfall i smorina...steta...

Dobro bi bilo da covek bude na slicicama i gleda ovaj film.