Gaspar Noè B2B - 'Enter The Void' (2009) and 'Love' (2015)

'Enter The Void' (2009)
Writer: Gaspar Noè
Release Date: 24th September 2010
Hot Rating:  💥💥 💥 💥

The Argentinian director, Gaspar Noè, is no stranger to daring cinema. His 2009 feature confirms the director's desire to consistently challenge audience's cinematic experience; 'Enter the Void' is a near-three hour psychedelic journey through the eyes of a drug dealer called Oscar after his death at the hands of Japanese police. Through various flashbacks, we gain an insight into Oscar's troubled younger life, including the death of his parents in a violent car crash. This moment, alongside Oscar's death, are graphic instances encountered head-on by Noè. As his 2002 feature 'Irreversible' also shows, the director is intrigued by the aftermath of brutality, even if these results are not always glazed with conventional emotions of empathy and sympathy. In the case of 'Enter The Void' It is Noè's ability to align us with the unlikeliest of sympathisers, be these prostitutes or drug dealers, where the film is at its most triumphant.

'Love' (2015)
Writer: Gaspar Noè
Release Date: 20th November 2015
Hot Rating: 💥💥

As he has done so throughout his career, Gaspar Noè once again directs a bold vision of human emotion. While the denotations of the title tell a story of romance, 'Love' is more explicit. In a similar disbanding process to the relationship between American ex-pat, Murphy (Alex Glusman) and girlfriend, Electra (Aomi Muyock), the film's decline into anguish results in a crude and nasty affair. The drama expands with an air of violence, proving that the lead characters are both unsympathetic and unlikeable. Nonetheless, Noè has openly stated his aim of displaying 'love' without the exaggerative aspects that cinema commonly delves into. To this degree, the film's brooding mood gives it a partial success, yet this self-indulgent triumph bleeds into the micro details, be it the allusions to Noè himself or the apartment setting; we leave the film with a critique of love, but no embracing understanding of the emotion.

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