Tuesday, July 5, 2011
The Tibetan Book of Boobies
Enter the Void has gotten alot of press about it's revolutionary cinematography, at least enough to coat the DVD box with gushing blurbs. The film begins entirely in firs person from Oscar -- a noodley white kid selling X to strippers -- and technically continues from said perspective after he gets shot by the cops and bleeds out in one of those ridiculous Japanese floor urinals. It's a swirling, hallucinatory trip through the neon-blasted Tokyo night and then into Oscar's memories, working back and forth in time but in such a way that the disparate scenes actually compose a coherent and rather linear plot. And really, it is all damn fun to look at.
Prior to his death, Oscar and a friend had been discussing the Tibetan Book of the Dead and how souls don't get to leave this world for something higher but are, as Oscar puts it, "stuck here for all eternity." He's a bit put out by the prospect and soon you see why. All the guy really has going in life is getting high and the... ambiguous relationship with his sister Linda. This stems from losing their parents in a car accident -- replicated in graphic detail -- at a young age which has made the siblings, uh, close. It doesn't look like anything happens, or happened when Oscar was alive but the few scenes of his disembodied spirit hovering above and then in two separate men while they're plowing Linda... well, draw your own conclusions.
Because, as I imply in the title, the only thing that crops up more in Oscar's memories than getting high is topless women. His mother when he was a baby, his sister, his fidgety friend's mom -- whom he hooks up with, inspiring said fidget to set up the sting where Oscar gets capped by Tokyo's finest -- all the way to the very end, or beginning, when a newborn Oscar arrives fresh into the world and his blurry baby eyes can focus on one thing...