The best thing about interpretive cinematic offerings is that despite a director’s certain vision for what the ‘meaning’ might be, that doesn’t mean that it is a finite conclusion of the implications of it’s narrative; essentially, that’s why they are called interpretive. So, while Noe (a proud athiest) can exclaim that Enter the Void is about the dream of life through the eyes of the dead, neither in heaven nor hell, neither reincarnated or rested, but simply in a state of dark slumber for all eternity reliving their existence in a never-ending picture reel, a religious man could take the story as that of a soul leaving its body and finding its place in another being to be reborn again and to experience the thrill of life once more. While the idea of life and death may be torture and pain for Noe, it can be a miracle of joy for someone else. By no means is Enter the Void a ‘happy film’, it is quite dark and can at times be excruciating to sit through because it represents pain in a very raw manner, not by violence but by the deterioration of human relationships, not by hatred but by loss and tragedy. What one may take out of this film is purely dependent on one’s outlook on life and that metaphysical place beyond death. For this reason, Noe’s Enter the Void is extraordinary because it is the quintessential interpretive modern narrative that can take on a different life from each person who sees it, just like a soul can take on a different life for each body it may inhabit.
Fun stuff – Gaspar Noe is known for his outlandish cocaine and LSD infused title sequences. Check Enter the Void’s title sequence in full on youtube here: http://www.youtube.com/watch?v=dL0lNGXoP8E