What really stands out to me in enter the void above most of noé's catalog is less of it's own way of subject matter, but rather it's way of putting us in the shoes of it's own situations. It's own story growing larger and more distant when the cycle is perpetrated, a time vicerally thrown away at us than brought back with futile power in the form of camera work.
People aren't wrong for assuming noé as someone who always finds ways to be distinctive with shock as a power to his films but really it's less of shock here. It's emotions that blur our perception to the screen. And it's raw malaise.
I genuinely don't know what works so much with noé at times, he has a lot of tools to make a masterpiece and he's only close once with his third film which struck me like a lightning bolt on my first watch, and yet he can get problematic, provide only the tinest technical choice to exaggerate his own perspective as a way of recognizing twisted euphoria in truth rather than a confrontation all throughout.
Love is noé going for a restraint way of showcasing tragedy with a low count of violence in it's own runtime, but with fewer exceptions makes all the choices more effective, perhaps what's very tragic here is just how hollow this couple truly are, fully ignorant of their time around them and indulging in sex for a need of physical repression or purpose with themselves, Murphy can't understand a single thing with himself and his own desires because it's all reduced to a fictional perspective. the way he handles his own anguish is for him to excuse the fact that he is born possibly in an enviroment to separate his vulnerability as close as possible before everything he could shoot eye to eye towards cuts him back.
To him, no matter how he feels. He always reduces himself from conscious physicality, Every scene showcasing sex is deeply haunting the way it edits separate spaces of Murphys own control, to fundamentally put us in a state where we can and also can't be in these personal positions, sex doesn't really feel fulfilling at this point, it provides more and more exhaustion to continue, High compliment for me to understand how hollow and problematic many parts of this film are in places and yet i still feel hurt by the time the credits roll.
It's hard to say whether or not noé will have power in providing any film the way he made them again, but overall he isn't far off from conveying emotion either, even when it hurts.
What really stands out to me in enter the void above most of noé's catalog is less of it's own way of subject matter, but rather it's way of putting us in the shoes of it's own situations. It's own story growing larger and more distant when the cycle is perpetrated, a time vicerally thrown away at us than brought back with futile power in the form of camera work.
People aren't wrong for assuming noé as someone who always finds ways to be distinctive with shock as a power to his films but really it's less of shock here. It's emotions that blur our perception to the screen. And it's raw malaise.
I genuinely don't know what works so much with noé at times, he has a lot of tools to make a masterpiece and he's only close once with his third film which struck me like a lightning bolt on my first watch, and yet he can get problematic, provide only the tinest technical choice to exaggerate his own perspective as a way of recognizing twisted euphoria in truth rather than a confrontation all throughout.
Love is noé going for a restraint way of showcasing tragedy with a low count of violence in it's own runtime, but with fewer exceptions makes all the choices more effective, perhaps what's very tragic here is just how hollow this couple truly are, fully ignorant of their time around them and indulging in sex for a need of physical repression or purpose with themselves, Murphy can't understand a single thing with himself and his own desires because it's all reduced to a fictional perspective. the way he handles his own anguish is for him to excuse the fact that he is born possibly in an enviroment to separate his vulnerability as close as possible before everything he could shoot eye to eye towards cuts him back.
To him, no matter how he feels. He always reduces himself from conscious physicality, Every scene showcasing sex is deeply haunting the way it edits separate spaces of Murphys own control, to fundamentally put us in a state where we can and also can't be in these personal positions, sex doesn't really feel fulfilling at this point, it provides more and more exhaustion to continue, High compliment for me to understand how hollow and problematic many parts of this film are in places and yet i still feel hurt by the time the credits roll.
It's hard to say whether or not noé will have power in providing any film the way he made them again, but overall he isn't far off from conveying emotion either, even when it hurts.
