Enter The Wood (Gaspar New, 2010) - Review the new movie

Enter Void (Gaspar New, 2010) - Gaspar Noi has allowed his unforgettable flag flight into the void, his DMT topping, the epic of POV camera disease. Whether you reject it as a trash or falsely appreciate it, there is no denying that someone is operating at a completely genuine level. After watching the film in Cannes in 2009, Manola Dargis said, "This is an artist who has never seen anything in front of us. This is a perfectly accurate statement, and to see it is to marvel at the formal use of falsehood. What he says is adult and exploitative, but there is something intriguing about seeing such huge dangers.


The new one seems to be obsessed with the conditions of the club arranged in the dark which lead to horrific violence. He discovers exactly the same area as the incredible, eye level camera. Yet, compared to filing the void, it is a positive pleasure to sit through the first movie. Both films punctuate the viewer with sex and violence, but enter a completely forgettable void about his audience.

Things actually start off pretty promising, as we follow our character Oscar (Nathaniel Brown) as he defeats the DMT, heads a club to make a drug deal, and police Shot against arrest. We experience it all with its literal POV, and are interested to see how the new camera moves. In fact, the best thing about the whole movie is the ninety camera, which is never-ending and consistently amazing. (He admits he didn't direct any of the actors in the film, but he does direct himself.) Once the Oscar dies, we get out of his body and up. The intellect (the film is mostly fantasy in nature) is that its consciousness has left its body and remains on the ground, sees but cannot interact with life.

Let's back up a bit. Oscar became a drug dealer so he could be reunited with his sister (Paz de la Hota) to earn enough money to fly to Tokyo. When he arrived, he was dressed and celebrated with a lot of embarrassing people, and who knows, maybe one of them was filled with his brother. They were actually separated from their brother when they were children, following the horrific accidents of their parents, and taken to various volunteer homes. We all experience this through flashbacks, which are still being tested by screen patients and / or the transforming spirit. No, these early flashback scenes employ a lack of visual matching in which the narrative begins to establish the themes. The feeling of expression is a terrifying fear of being infected and linked to the source data and especially to their breasts.

But as the new one begins to tell the true story, it stops in its tracks, and the last two hours running between buildings, revolving around road signs, the topics mentioned above (yet) No extension), and most observe her sister as she works her way through guilt and pain she feels at the death of her brother. Too much time (I saw about three hours in the cut) strongly indicates a plot. (We don't care about police investigations, nor about Oscar's friend, the road philosopher, nor do we witness too many edges.) He often uses live cuts for film. Refuse to. And, worse, every graphical style transition is expected as we enter the final scene. After being chained around for hours, it will reach someone's patience.

There is not a single frame that is not new with layers and layers of effects. Given its intention to recreate a hallucinogenic travel experience, as a film setting, it's clear for some fluorescent lights and Americans to choose Tokyo with extraordinary aliens. Soon behind the heads of the nine camera rides, pass through the walls of the apartment in the fire and light and urns. New choices quickly disappear as we find ourselves entering a black hole, observing realistic writing and later seeing a sexual congress inside a vagina. Mostly, though, the camera moves directly behind the head of the protagonist to the camera. It is a literal interpretation of their physical experience, which some people may call an extraordinary understanding of deep capitals. I think his literal approach is credible because the technical graduate Nye has set up for himself, a post he chooses to run stubbornly. Unfortunately, we have to go to find the audience, too, and be able to find that Neo's brain is very mature and ultimately so cautious.

If you make it to the final reel, you will be rewarded with two interesting, highly interactive articles. Tokyo uses ninety models to fly a strange, trippy flight through Tokyo. Then we enter the love hotel and witness the variety of transportation, digitally enhanced. Their editing and camera recipes and digital manipulation create experiences that push the potential of cinematic expression and enhance the film's language of drug-induced states. The film world needs to risk more than risk, like light, to inspire others with thoughtful ideas. This is because I had trouble getting into the void until I felt attacked (and confused, and bored) by it. I'm not about to recommend a movie, but I also want my nose to fail.

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