Screenwriter: Gaspar Noé

Producers: Olivier Delbosc, Vincent Maraval, Marc Missonnier, Pierre Buffin

Co-presented by Community Programming Partners Synth History

Nobody does a mind-f*&k like Gaspar Noé, and Enter the Void may be his most hallucinatory work in an ouvre of envelope-pushing and eye-popping spectacles. 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. Give yourself over to this experiential head-trip and leave the real world behind!

About the score/soundtrack:

Enter the Void is the 14th installment of Vidiots’ & Synth History’s Iconic Scores screening series, which highlights pioneering scores and soundtracks in electronic music!

The soundtrack for Enter the Void blends musique concrète, experimental, and electroacoustic styles. Noé would collaborate again with Thomas Bangalter (of legendary electronic duo Daft Punk), who also scored Irréversible. Bangalter was originally approached to create an original score for the film, however due to his involvement scoring Tron: Legacy, he’d take on the role of sound effects director instead, providing a library of ambient sounds and experimental samples which Noé then compiled.

One source of inspiration was “Revolution 9” by The Beatles, a collage of sounds that Noé described in The Quietus as a work “where you catch the beginning of a note, or of a melody and then it’s already somewhere else.” The film includes a recording from electronic music pioneer Delia Derbyshire (BBC Radiophonic Workshop) of Bach’s “Air on the G String”, ANS by Coil which utilizes the rare, photoelectric ANS synthesizer (if you came to our screening of Solaris you might remember that composer Eduard Artemyev also used this!), Throbbing Gristle’s “Hamburger Lady,” LFO’s “Freak”, nearly every part of electroacoustic musician Jean-Claude Éloy’s compositions Shânti and Gaku-no-Michi, Toshiya Tsunoda’s “Music for Baby”, Alvin Lucier’s “Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers”, works by Denis Smalley, Lullatone, Zbigniew Karkowski, and Thomas Bangalter‘s own track “Désaccords,” originally composed for Irréversible.

A fitting collage of sounds for a visually stunning film that you definitely don’t want to miss on the big screen! We guarantee you’ll remember it forever.

Picks from the Video Store

Looking for more mind-melting cinema? You’ve come to the right place!

Liquid Sky, Holy Motors, Telephone Book

Accessibility Options: Amplified Audio, please see the box office for devices.