As with Irreversible, Noé's visual style correlates well with the allure of the various vices in the film, the mystery and danger of being out of control. What's special about Noe's implementation of this is that it's also frightening and intimidating, as if he's beying us to even challenge this mode of generating mood and suspense. It's formidable. "Enter the Void" is a more intrusive, confined entity in the way that its trippy opening credits induce seizure, in the way that he uses point-of-view to place us inside Oscar without us being able to fully realise outsiders' perceptions of him. For stretches of his living moments he's faceless, much like the inevitable way in which his death will be consigned to phatic conversation on the street.