The visual language of the movie, with its psychedelic colors and frequent use of the first person perspective, is heavily inspired by imagery associated with psychadelica and drug use. Noé's radical approach extends into the opening title sequence. Noé is interested in cinema as a physical experience. To provoke a visceral response from the audience, Noécreated a violating pace and used pulsating strobe effects for the opening titles of Enter the Void. The sequence combines myriad iconic typographic archetypes, if not clichées, with film company logos – a reference to the futuristic neon signs that line the streets of Kabukichō, Tokyo's red-light district in Shinjuku. The distorted electronic score is by LFO. Who ill be seeing at Bloc festival in march.
'Kan exploits every trick in the commercial lettering manual: drop shadows, bevelled edges, Gothic type, neon type, 1960s futurism, shattered letters, melting letters. Spliced together with Japanese characters and subjected to jittery filters and treatments, this maelstrom of words signals the delirious, immersive excitement of Noé’s Tokyo, a city of nightclubs, logos, adverts, neon, throbbing music, drugs and sexual sleaze, a place where spiritual compasses can easily spin out of control.' - Rick Poyner, Eye Magazine