At the edge of nothing

This is my interpretation of the story of an American drug dealer living in Tokyo, Japan. This is the first 15 minutes of the movie.

The portion depicted is of a dealer waking up from a self induced sleep like state, when suddenly his phone brings him back to reality. He goes to the bathroom to wake up and hears a knock at the door. It’s his friend; just in time to go meet their supplier. They conversate on the way there, he picks up pills and heads out to the buyer.

Outside of the meeting point his friend tells him that he does not want to be around that sort of transaction and he will wait outside.

The main character (you) goes inside and soon realizes that he has been set up. He runs to the nearest bathroom and locks himself in.

He threatens the undercovers with a warning of a gun hoping they will go away. Instead they feel threatened and decide to fire on him as he is trying to get rid of the evidence. The warm and sudden sensation of impending death takes over his body. He drops to the ground scattering the drugs as he falls, he is warm, he is calm, he is almost back in the void.

The changing trajectory of the second to last image in regards to point of view sets the stage for the rest of the film. The rest of the film is composed of flashbacks and areal shots as a representation of his wandering soul. This is in reference to the Bardo Thodol or most commonly known as the “tibetan book of the dead.” I was compelled to tell this story because it touches on the idea of solids/spaces, above/below, insides/outsides, life/death, which in my view are not two separate things, but instead polarities of the same thing; two sides of a coin. This is why the story line starts with black or “emptiness,” and ends with white, or “something.”

This is my interpretation of the movie Enter the Void by director Gaspar Noe.

Daniel Miramontes