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.
Incredible, incredible set now playing by #wuso on the #enterthevoid event:
I am blown away.
Long Live The Underground
Some of you have never seen the Enter The Void (2009) title sequence, and it shows.
Wait till the last third - and imagine this in a theater.
[BIG flashing lights warning!]
Filmelier+ estrena cine exclusivo en México este octubre
El catálogo ofrece animación, horror y cine de culto para todos los públicos.
Por Brenda Aguilar | Reportera
Con la llegada de octubre, Filmelier+ incorporó películas que solo se podrán ver en México a través de su plataforma de streaming, ofreciendo producciones recientes y clásicos del cine internacional, abarcando diversos géneros y temáticas para toda la audiencia.
Entre los estrenos más relevantes se incluyó “¿Dónde está Anne Frank?”, estrenada el 9 de octubre. La animación narra la búsqueda de Kitty, amiga imaginaria de Anne Frank, quien recorre Europa descubriendo el mundo moderno y el legado de su amiga en el diario que dejó.
La plataforma también sumó “Descansa en paz”, película de horror sobrenatural que llegó el 30 de octubre, coincidiendo con Halloween. La producción europea muestra cómo los muertos regresan misteriosamente a sus familias, generando caos y misterio sobre sus intenciones y la razón de su regreso.
La actuación de Renate Reinsve en “Descansa en paz”, reconocida por filmes como La peor persona del mundo, recibió elogios en festivales como Sundance, consolidando la película como una de las más esperadas del mes en el género de terror.
Cine de culto y drama
En cine de culto, Filmelier+ incluyó “Drogas, amor y muerte” de Gus Van Sant, disponible desde el 2 de octubre. La película aborda la vida de un grupo de adictos que roban medicamentos y la lucha de uno de ellos por rehabilitarse, mostrando las dificultades de rehacer su vida.
Asimismo, “Enter the Void” de Gaspar Noé, disponible también el 2 de octubre, presenta la historia surrealista de un traficante que se niega a abandonar este plano tras su muerte, cumpliendo la promesa de proteger a su hermana. Ambas producciones ampliaron la oferta de cine alternativo en la plataforma.
El drama también tuvo presencia con “Juegos de seducción”, donde una pareja enfrenta las complejidades del amor y desafía las expectativas sociales, y “Un buen corazón”, con Brian Cox y Paul Dano, quienes protagonizan la relación entre un joven sin hogar y un barquero en busca de un sucesor.
El catálogo de octubre completó su programación con títulos variados que incluyen comedia, drama y thriller, garantizando contenido para todos los gustos y reforzando la presencia de Filmelier+ como plataforma de cine exclusivo en México. –sn–
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Synaptic – Enter the Void Review
By Dolphin Whisperer
Nothing marks the passage of time like an album released decades after the core of its sound kicking your brain back to its youth. Now, my birth wasn’t so long ago that I’d consider myself decrepit. But when a band like Synaptic walks The Thin Line Between melodic, technical, and just a touch progressive death metal sound from a pre-Relentless Mutation—hell a pre-Incurso, even—world, I step right back into a mindset of no sweep too repetitive, no riff to crunchy or jagged, and thrashin’ about concerts carefree with no ear protection.1 The fretboard gymnastics across Enter the Void do, after all, possess a youthfulness in the sense that fingers tarnished by the plights of time-based decay could not fathom the nimble taps and extended arpeggiations that adorn its svelte run. Nostalgia alone can’t be the only draw, though.
Having roots in Germany as far back as 2004 under the name Preemptyve Strike, Synaptic’s surviving creative force, guitarist Simon Herbert, has likely lived many of the historical landmarks that adorn the memories of extreme death metal connoisseurs across the past twenty years. As such, a harmonic focus steered by technical riffage and virtuosic bass pops2 breathes the language of the melodically inclined aggression—undervalued acts of olde like Neuraxis or early Arsis. With this kind of construction, the hooks lie just as much in the twisted play of Gothenburg-weight flexing (“The Lost Continent,” “Memories of a Forgotten Future”) as they do in the hypnosis of tapped and layered sonic excess (“Malfunctional Minds,” “City of Glass”). Little new exists in the scale exercises that build tension and escalate song narratives here. Nevertheless, Synaptic finds an entertaining home in their well-carved path.
Though not the most dynamic display of tech death—the compression necessary for these distorted tones to run truer to note against each other makes accomplishing that task difficult, typically—Synaptic defies the tradition of crispy rhythm tones and crack-a-lack drum splatters to wear their chosen style like broken-in denim. In particular den Hertog wears his thick-stringed chatter in frequencies that stray away from competition with treble-loaded taps and blackened tremolo assaults (“Malfunctional Minds” especially), all while stepping with a fretted presence that clangs distinct from a double-kick pummel. Young engineer Ben Jones (also engineer for last year’s Feind album) has reigned in well the diversity of guitar voices that Herbert has chosen allow half-time bridges (“The Lost Continent,” “Architects of the Night”) and long-form excursions (“City of Glass”) to land with high punch and low fatigue. Despite the kitwork being completely at the hands of programming (also Herbert), Jones has integrated its flow well such that it took me exploring the credits to realize the absence of sticks behind the percussion.
Between the extensive and studied scale mastery, progressive breaks into group choruses and verses, and harsh vocal palettes that stay within the genre confines, Synaptic struggles to build a face of their own. It’s a tough gig to carve a niche in this extreme metal world with bands like Archspire driving for harder and harder-to-reach tempos, or others like First Fragment throwing every sticky arpeggio and guitar (and bass) solo imaginable at the wall. Enter the Void subsists on smart composition first, which means that its fugal prowess must hit with a crescendo of excess or hook so mighty it can’t be denied. As it stands, though Herbert’s peaks in solo-land find a more smooth, buttery path to the top. And with three of the eight tracks serving either an introductory of transitory passage (the closer might as well be part of “City of Glass” too), Synaptic spends an unfortunate amount of its rather short run here building an atmosphere whose brightest moments ride low magnitude waves.
As countless other bands have chased this same technical death metal high, Enter the Void too doesn’t enter the scene with any major shake or rattle. Given the level of affection for the style in exposition and careful refinement along the genre playbook, though, it doesn’t seem much like Synaptic aimed to reinvent anything. Of course, a novel approach isn’t necessary to give fans of certain sounds a good time. In Enter the Void, those searching for a snappy, atmospheric play on death metal riffy and sweeping will find plenty of reward.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: PCM3
Label: Self Release
Websites: synapticmetal.bandcamp.com | instagram.com/synaptic.techdeath
Releases Worldwide: January 15th, 2025
#2025 #30 #Arsis #DeathMetal #EnterTheVoid #GermanMetal #LifelessChasmRecords #Neuraxis #ProgressiveDeathMetal #Review #Reviews #SpawnOfPossession #Synaptic #TechnicalDeathMetal
The Substance 2024 -- wanted to like this more but there's no real depth to it. It's a (at times, hilarious) gross-out comedy, more or less, so seeing in a room full of strangers shrieking and cracking up was prob the best way to experience it. But very nice sound design from Valérie Deloof, who also did incredible work on Enter The Void. (Maybe watch that instead.)
Im heutigen Media Monday #678, dreht sich alles um eine Vielfalt an Filmthemen und persönlichen Erlebnissen.
https://passion-of-arts.de/media-monday-678/
#BladeRunner #BreakerHigh #DerGroßeDiktator #EnterTheVoid #GasparNoé #GefährlicheBrandung #Irreversibel #KindsOfKindness #LaLaLand #LaurentPierre #MediaMonday #Medien #Medienjournal #MonicaBellucci #PassionOfArts #PersiaWhite #RidleyScott #RyanGosling #TheLordOfTheRingsTheWarOfTheRohirrim #ThelmaAndLouise #TylerLabine #VincentCassel
Im heutigen Media Monday #678, dreht sich alles um eine Vielfalt an Filmthemen und persönlichen Erlebnissen.
Experience the mind-bending journey of #EnterTheVoid by Gaspar Noé 🎥✨. Dive into the surreal world of Tokyo through Oscar's eyes. A visual masterpiece that challenges reality and perception. 🍿 Watch the trailer now! #Film #Cinema #GasparNoé #ExperimentalFilm 🎬
Rotten Tomatoes 🍅:
https://www.rottentomatoes.com/m/enter_the_void
IMDb🎬: https://www.imdb.com/title/tt1191111/
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