80-percent of 'Enter the Void' is a traditional narrative movie. I suppose it's more similar to 'Jacob's Ladder' or 'Videodrome' than it is to 'Inauguration of the Pleasure Dome' by Kenneth Anger, which is very experimental. It's the other 10% of 20% that reminds you of the language and glamour of dreams.
In this quote, Gaspar Noé is reflecting on the structure of his film 'Enter the Void' and comparing it to other films that blend traditional storytelling with experimental elements. He explains that 80-percent of the film follows a traditional narrative, making it similar to films like 'Jacob's Ladder' or 'Videodrome', which combine psychological themes with a more conventional cinematic style. However, Noé points out that the film's remaining 10% of 20% introduces elements that deviate from traditional storytelling, drawing on the language and glamour of dreams, which creates a more surreal and experimental atmosphere.
Noé’s reference to 'Jacob's Ladder' and 'Videodrome' suggests that 'Enter the Void' shares thematic and stylistic similarities with psychological thrillers that blur the line between reality and the mind’s perception. These films incorporate disorienting and fragmented narrative structures that can challenge the audience’s understanding of what is real, much like Noé’s own work. By comparing 'Enter the Void' to 'Inauguration of the Pleasure Dome' by Kenneth Anger, he also acknowledges the influence of more avant-garde cinema, which is characterized by a greater degree of experimentation and abstract imagery.
The origin of this quote comes from Noé's approach to filmmaking, where he blends different styles to create a unique viewing experience. Known for his bold and often provocative filmmaking, Noé's works often combine intense emotional experiences with visual techniques that challenge traditional narrative structures. His films are a mix of psychedelic visuals and nonlinear storytelling, which he uses to explore themes of life, death, and perception.
Ultimately, Noé’s quote highlights the balance he strives to strike between traditional narrative structures and the experimental language of cinema. By merging elements of dream-like sequences with more grounded storytelling, Noé crafts a film that both challenges and captivates the audience, blending surrealism with cinematic tradition to create a truly unique experience.
GDGold D.dragon
I’m curious about the idea of ‘language and glamour of dreams.’ What exactly defines that in cinema? Is it camera movement, color palettes, nonlinear editing, or something less tangible like emotional tone? And can traditional narrative films incorporate that dreamlike quality without becoming abstract or confusing? I think Noé's blending of genres challenges what we expect from a narrative structure and how far it can bend before it breaks.
TPThao Phuong
This makes me think about how different viewers interpret the same movie. One person might latch onto the narrative, while another is swept up in the sensory experience. Is Noé implying that the experimental elements, though limited in duration, hold more emotional or symbolic weight? I’d be interested in hearing whether people find themselves remembering the story—or the visuals—long after the credits roll.
PPDucMinh
I find Noé’s math amusing—talking about 10% of 20% feels intentionally convoluted, but maybe that’s the point. Is he suggesting that the dreamlike parts are both minimal and massively impactful? I’d love to know whether this kind of precise segmentation was planned or just an afterthought to explain the film’s structure. Does it reflect how filmmakers think about balancing audience comprehension with artistic experimentation?
MBNgoc mai Bach
Gaspar Noé comparing his film to both ‘Jacob’s Ladder’ and ‘Videodrome’ sets high expectations. Those films are intense, psychological, and deeply unsettling. I wonder—does Noé see 'Enter the Void' primarily as a spiritual or psychological journey? And how does that compare to the raw experimentation of Kenneth Anger’s work? Is there a tension between homage and innovation in the way he frames his influences?
PTNguyen Le Phuong Thao
This quote raises an interesting point about perception in cinema. If only a small fraction of the film feels dreamlike, why is that the part people often remember most vividly? Is it because our minds are more attuned to the symbolic and surreal than we realize? I’m curious whether Noé intentionally crafted that dreamy 10% to linger in the subconscious, like a visual echo after the movie ends.