Enter The Void

A podcast dedicated to examining the overlooked genre of "mindfuck movies" — from William Beutler + Renan Borelli, previously of KubrickCast

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Believe it or not, we have arrived at the 100th and longest and final episode of ENTER THE VOID. On today's episode, your hosts Bill and Renan sit down together in person to reminisce about how they originally came up with the idea for this podcast, how they launched their earlier show KubrickCast, and even how they met in the first place. Next, they revisit their definition of a mindfuck movie for the last time, and then name their mindfuck "Mt. Rushmore" for both the greatest films covered on the series and their favorites... and a few of their least favorites. Plus, what are some films this show would cover if there was a season X+1? Which episodes were the most popular? They also take listener questions, addressing what kind of mindfuck movie they might make, what was the first mindfuck film, and could there still be a book in the future? You'll just have to listen! Finally, a massive thanks to all of Enter the Void's listeners and guest hosts and friends who helped to make this show far more popular than we could have ever imagined.

Episode links:

KubrickCast

S1E1: Phantom of the Paradise

S1E2: Primer

S1E6: Lost Highway

S1E9: Enter the Void

S1E10: Synecdoche, New York

S2E1: Eraserhead

S2E2: Brazil

S2E10: The Tree of Life

S3E7: Chungking Express

S3E8: World of Tomorrow

S4E6: Last Year at Marienbad

S5E1: Solaris

S5E8: Twin Peaks: Fire Walk With Me

S6E1: Donnie Darko

S6E8: Mulholland Drive

S7E8: Eternal Sunshine of the Spotless Mind

S8E1: American Psycho

S8E5: The Holy Mountain

S9E1: Total Recall

S9E2: Raw

SXE6: Mindfuck Television

SXE11: Blue Velvet

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For our final regular episode of the podcast (yep, the whole thing) we finally come to one of the essential films of the mindfuck movie discussion, David Lynch's breakthrough as a popular artist, 1986's BLUE VELVET. Starring Kyle MacLachlan, Isabella Rossellini, Laura Dern, and of course Dennis Hopper, it was highly controversial upon release, and soon became the favorite film of academics and critical theorists—not to mention the late David Foster Wallace—and today stands as a film classic. But how challenging is it 33 years later? What are we to make of the multi-layered symbolism, the sexual violence, how much was borrowed into Twin Peaks, Lynch's Reaganism, its 50-plus minutes of deleted scenes, and its place in David Lynch's filmography? For the last time, your hosts Bill and Renan take on one film and see where it takes them. Then in two weeks, we'll return for our grand finale, a recap / retrospective of the entire podcast project.

Episode links:

Blue Velvet on IMDb

Blue Velvet on Wikipedia

Roger Ebert initial review

Roger Ebert's follow-up column

Janet Maslin original NYT review

Slate retrospective review in 2011

AV Club retrospective review in 2011

Mental Floss list of Blue Velvet factoids

YouTube: Siskel & Ebert on Blue Velvet

David Lynch's "eye of the duck" concept

Cinephilia & Beyond essay on Blue Velvet

Sheila O'Malley on Dean Stockwell as Ben

BBC essay on Blue Velvet's cultural context

Stephanie Lam on BV's exploration of duality

Dennis Lim on Blue Velvet and the Reagan 80s

Book: Dennis Lim's The Man from Another Place

1990 NYT article on Twin Peaks, uses "Lynchian"

Freudian analysis of the characters' favorite beers

27,000 words on BV symbolism at Idyllopus Press

DFW discusses Blue Velvet on Charlie Rose

Blue Velvet shooting script as of 8-24-84

YouTube: Blue Velvet deleted scenes

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Our pick for this episode is not your usual, bog standard time travel psychological horror... but then again, maybe it is? Today we are doing GROUNDHOG DAY, the 1993 romantic comedy directed by Harold Ramis, starring Bill Murray and Andie MacDowell. A sleeper of a mindfuck, Groundhog Day warmed hearts and tickled funny bones when it debuted early in the Clinton era, but by the 21st century it had come to be recognized for its theological significance—and then YouTube got hold of it, and the rest is history. Today, we discuss: whether it's a proper mindfuck; how long Phil actually spends in the time loop; connections to Buddhism, Catholicism and Judaism; its relationship to Camus, Sisyphus and existentialism; its place in the comedy pantheon; plus: is Ned Ryerson actually the devil?

Episode links:

Groundhog Day on IMDb

Groundhog Day on Wikipedia

Roger Ebert 2005 review

NYT on Groundhog Day's religious themes

National Review cover story on Groundhog Day

Mental Floss roundup of popular interpretations

Film School Rejects: DVD commentary highlights

IFC: How long does Phil spend in the time loop?

ShortList: Is Ned Ryerson the Devil?

Original Reddit Ryerson-as-Devil post

Den of Geek on the original Danny Rubin script

Michael Faust essay for Philosophy Now

NPR on the philosophy of Groundhog Day

Empire ranks it as top all-time comedy

Fan edit: Every Day in One Day

Fan edit: How Rita Experienced Groundhog Day

TV Tropes discussion about "we'll rent to start"

Edge of Tomorrow on Wikipedia

Russian Doll on Wikipedia

Friday Black on Wikipedia

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So this episode was supposed to be just about PERFECT BLUE, Satoshi Kon's 1997 animated psychological thriller. But we couldn't stop at just one! So Renan and Bill went ahead and watched PAPRIKA, his 2006 science-fiction opus too, which also sadly would be his last feature film. Today, your hosts talk about the life and career of Satoshi Kon, his incredible imagination and mastery of technique, and how both films examine themes of dual identities. Also discussed: Perfect Blue on the internet and celebrity culture; Paprika on dreams and filmmaking; how Darren Aronofsky borrowed well and Christopher Nolan borrowed poorly—and borrow they did; plus, are these films definitely anime?

Episode links:

Satoshi Kon on Wikipedia

Perfect Blue on IMDb

Perfect Blue on Wikipedia

Paprika on IMDb

Paprika on Wikipedia

Satoshi Kon interview on PerfectBlue.com

Little White Lies on the optimism of Perfect Blue

Roisin Kiberd on Perfect Blue and internet celebrity

Peach's Almanac tries to explain Perfect Blue

SyFyWire tries to explain what happens in Paprika

ThatMomentIn also tries to explain Paprika

Badass Digest on Black Swan vs. Perfect Blue

Film School Rejects on Inception and Paprika

"Screaming in a bathtub" side-by-side

"Shattered reality" side-by-side

Luke Thompson on Kon as anime

Satoshi Kon - Editing Space & Time by Tony Zhou

Dazed Digital on The Dreaming Machine

The Guardian obituary for Satoshi Kon

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How have we got this far without discussing anything by the original film surrealist, Luis Buñuel? Well, today we rectify the situation and discuss not one but four films from the Spanish exile / expatriate moviemaking legend. In this episode, your hosts examine the previously promised UN CHIEN ANDALOU (1929), THE EXTERMINATING ANGEL (1962), and THE DISCREET CHARM OF THE BOURGEOISIE (1972), plus one of his more accessible films, BELLE DE JOUR (1967) with Catherine Deneuve. Among the topics for discussion: Buñuel's peripatetic life and unpopular politics, his roles in both the Surrealist and French New Wave movements, his use of dreams and the subconscious, the targets of his satire, and connections to the works of David Lynch and Last Year at Marienbad.

Episode links:

Luis Buñuel on IMDb

Luis Buñuel on Wikipedia

Surrealism on Wikipedia

French New Wave on Wikipedia

J. Hoberman on Buñuel's politics in The Nation

Un Chien Andalou on IMDb

Un Chien Andalou on Wikipedia

Un Chien Andalou on YouTube

Roger Ebert review of Un Chien Andalou

The Exterminating Angel on IMDb

The Exterminating Angel on Wikipedia

Roger Ebert review of The Exterminating Angel

Criterion essay on The Exterminating Angel

Senses of Cinema on The Exterminating Angel

The Take on The Exterminating Angel

The Cinephile Fix on The Exterminating Angel

Belle de Jour on IMDb

Belle de Jour on Wikipedia

Roger Ebert review of Belle de Jour

The Discreet Charm of the Bourgeoisie on IMDb

The Discreet Charm of the Bourgeoisie on Wikipedia

Roger Ebert review of Discreet Charm

Pauline Kael review of Discreet Charm

Celluloid Wicker Man on walking in Discreet Charm

The Outline on DFW and literary journalism

S9E5: JOHNNY GOT HIS GUN

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At long last we get around to a movie that was on our mind when we started this podcast: FIGHT CLUB, the 1999 David Fincher film  starring Edward Norton, Brad Pitt and Helena Bonham Carter, based on the 1996 Chuck Palahniuk novel of the same name. If you don't like politics with your movies, then today's show isn't for you, because Fight Club was born in controversy, released to Boomer acrimony, and then, once it attained cult status, attracted the unwanted—but not altogether surprising—approval of some of the most loathsome ideologues of the 21st century. Today, Bill and Renan take on their most problematic fave, discussing themes of consumerism, capitalism, fascism, toxic masculinity, intergenerational animosity, violence in the media, the culture wars, the WTO, Columbine, Donald Trump, Jeff Bezos' mistress, the death of satire, and much more.

Episode links: 

Fight Club on IMDb

Fight Club on Wikipedia

Fight Club (novel) on Wikipedia

Roger Ebert negative review in CST

David Denby negative review in NYer

Liza Schwarzbaum negative review in EW

Janet Maslin positive review in NYT

Jim Emerson contemporaneous defense

Dennis Lim 2009 positive reappraisal in NYT

Garin Pirnia 2016 positive reappraisal in Esquire

Best. Movie. Year. Ever. excerpt in The Ringer

NYT op-ed: "The End of Satire"

Poe's law on Wikipedia

Maggie Mae Fish: "Cultural Fascism" video

ContraPoints: "What's Wrong With Capitalism" video

2009 NYC attack blamed on Fight Club

Broadly on Fight Club's appeal to the alt-right

New Statesman on why Fight Club isn't fascist

The Guardian on Fight Club, Brexit, and Trump

Analysis of Fight Club's Marxist content

Junkee on Fight Club's "bad fans"

FSR summary of DVD commentary

11 Hidden Secrets in Fight Club

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This episode is a little different: rather than taking on a single film or even the work of one director, the scope in this extra-long bonus episode is the greatest mindfucks across more than 50 years of TV history. In three separate segments, Bill and Renan each make their "Mount Rushmore" picks for the greatest television series, single episodes and standout moments in mindfuck TV. Shows discussed in this episode include: Twin Peaks, Black Mirror, LOST, The Leftovers, The X-Files, The Prisoner, The Good Place, Wild Palms, Russian Doll, Dark, The Sopranos, Star Trek, The Twilight Zone, Tales from The Darkside, Friday the 13th: The Series, St. Elsewhere, Newhart, Mr. Robot, and Get a Life.

Episode links:

Alex Pappademas on Wild Palms

BFI on The Prisoner's cultural influence

Keith Phipps on Harlan Ellison's Star Trek episode

Uproxx on The Sopranos' dream sequences

The Tommy Westphall Universe Hypothesis

AV Club on The Good Place's season 1 plot twist

YouTube clips:

Wild Palms miniseries trailer

LOST: "We have to go back"

Twin Peaks: "How's Annie?"

The Sopranos: "Funhouse" dream sequences 

St. Elsewhere: Snow globe ending

The Good Place: Eleanor's revelation

Game of Thrones: Red Wedding

Twin Peaks: Wally Brando

The Sopranos: series finale conclusion

Friday the 13th: "Vanity's Mirror" full episode

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In today's episode, Bill and Renan return to the work of David Cronenberg—a director twice before discussed on this podcast—to consider the 1986 film many believe to be his masterpiece: THE FLY, starring Jeff Goldblum as a scientist who accidentally fuses his genes with a common housefly, and Geena Davis as the woman who loves him. So: is it actually Cronenberg's best film? Is this movie about aging, disease, and AIDS specifically? Or is it a cautionary tale about science and the nuclear age? What does this movie want us to make of Stathis Borans? Do we think The Fly got Jeff Goldblum his famous role in Jurassic Park? All these questions will be answered, plus an incomplete discussion of Cronenberg's filmography, and whether it's already complete.

Episode links:

The Fly on IMDb

The Fly on Wikipedia

Matt Zoller Seitz review of The Fly

Collider review of The Fly

The Fly review at RogerEbert.com

Den of Geek calls it Cronenberg's masterpiece

GEEKS on The Fly as the greatest remake ever

FSR summary of director's commentary

Is Stathis Borans the hero of The Fly?

Evaluating the science of The Fly

Variety review of The Fly opera

Butterfly baby alternate ending

The big reveal from the 1958 version

CGP Grey on Star Trek teleporters

Chinese scientists teleport particles... kind of

The Atlantic on the "unethical female journalist" trope

ENTER THE VOID S1E2: MAPS TO THE STARS

ENTER THE VOID S2E4: VIDEODROME

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In the waning months of the 20th century, a remarkable little film from a pair of unknown filmmakers arrived in US cinemas, and it became a bona fide sensation. That was BEING JOHN MALKOVICH (1999), written by Charlie Kaufman and directed by Spike Jonze, starring John Cusack, Cameron Diaz, Catherine Keener, and of course, John Malkovich. It was a formative film experience for your hosts, and twenty years later Bill and Renan revisit it for you today. Among the topics discussed: the film's reception at the time and how it looks now that the novelty has worn off; was 1999 the greatest year in cinema history, and what happened to indie films after?; how great art becomes problematic faves; what comes after after postmodern irony?; how it compares to Adaptation, Eternal Sunshine, and other Kaufman-Jonze work; plus, Bill's very much not good Orson Bean story and the BJM / Get Out fan theory that might yet prove to be true.

Episode links:

Being John Malkovich on IMDb

Being John Malkovich on Wikipedia

Roger Ebert review of BJM in 1999

Variety review of BJM in 1999

Film Comment review / essay in 1999

Scott Tobias DVD review of BJM in 2012

"16 heady facts" about BJM from Mental Floss

Vulture's Cameron Tung on BJM and celebrity obsession

Amy Nicholson on 1999 being the greatest year in cinema

THR: Charlie Kaufman on struggling to get films made

Variety: Charlie Kaufman's upcoming Netflix series

John Malkovich "blowjob" quote in Rolling Stone

Jordan Peele on the BJM / Get Out theory

The Script Lab on BJM / Get Out theory

Interiors on the 7 1/2 floor

Being Charlie Kaufman

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How has this show never done a Christopher Nolan film before? Today your hosts rectify that and discuss his 2010 film INCEPTION, a $800 million-grossing summer blockbuster with no pre-established IP, unless being the next film by the guy who made The Dark Knight somehow counts. In this episode, Renan and Bill discuss: whether this and other Nolan features are truly mindfucks or mere puzzle films; whether they work on a second time viewing; how Nolan uses time, editing, and music to achieve his ends; defending Nolan from the haters on film Twitter; whether it's OK for the dialogue to be pretty much all exposition; whether Mal is actually a villain and if Dom should be considered one—in fact, isn't Dom a little bit like Red Dead's Dutch van der Linde?

Episode links:

Inception on IMDb

Inception on Wikipedia

Roger Ebert review of Inception

AO Scott review of Inception

Vulture interview with Dileep Rao

Christopher Nolan’s hand-drawn dream map

Itzkoff interview with Christopher Nolan

Deadline interview with Nolan

Bilge Ebiri on the end of Inception

Christopher Nolan on the film's ending

More Nolan explaining the films ending

ScreenRant video on the ending

Big Other critical evaluation of Inception

The Ringer on Inception's legacy

The Ringer Rewatchables episode on Inception

Alissa Wilkinson on Nolan's career overall

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Today Renan and Bill lose their neorealist chains and grapple with the 1963 Federico Fellini film 8½, hailed by armchair film scholars as one of the greatest films of all time. More than 50 years on, how does it hold up? Undoubtedly and deservedly a classic, 8½ today looks different than it did in the 1960s, or even the 1990s. In this episode: 8½'s attitudes toward women; Pauline Kael's critical review; Guido's heirs including Don Draper; Fellini's virtuosic filmmaking; whither the imperial film director; and other films about filmmaking. Also, Bill offers some hot Sundance tips, and we highlight a listener's electronic music project providing an alternate score to Eraserhead.

Episode links:

8½ on IMDb

8½ on Wikipedia

Pauline Kael original 8½ review

Stanley Kaufman original 8½ review

Roger Ebert 8½ review from 2000

Michael Newton 8½ essay from 2015

Criterion dream sequence roundup

Tullio Kezich essay on Fellini and 8½

Bilge Ebiri on 8½'s influence at 50

Brian Morton on reading old books in NY Times

Henry alternate Eraserhead soundtrack on Bandcamp

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We're back with the first of our last run of episodes, and today's episode is a two-for-one deal: we mostly discuss Terry Gilliam's 1996* time travel thriller 12 MONKEYS, with Bruce Willis, Madeleine Stowe and Brad Pitt, and weave throughout discussion of the 1962 French featurette that inspired it, LA JETÉE. Discussed in this episode: how does time travel work (or not) in these movies? What do we think happens after the events of 12 Monkeys? Is there anything La Jetée does better? What lessons do these movies have for modern audiences? Did you find all the character actors from The Wire in 12 Monkeys? How about the Nas Illmatic posters? And, what are we to make of Terry Gilliam's career overall?

Episode links:

12 Monkeys on IMDb

12 Monkeys on Wikipedia

La Jetée on IMDb

La Jetée on Wikipedia

Roger Ebert 1996 12 Monkeys review

Scott Tobias 12 Monkeys appraisal for New Cult Canon

Scott Tobias review for Criterion release of La Jetée

Vulture essay on 12 Monkeys' continued relevance

Den of Geek essay revisiting 12 Monkeys in 2012

Criterion essay on La Jetée by Jonathan Romney

Little White Lies on 12 Monkeys, La Jetée and Vertigo

Uproxx trivia tidbits about 12 Monkeys

Philly and Baltimore locations from 12 Monkeys

Tour of Port Richmond Power Station

Lebbeus Woods lawsuit against 12 Monkeys

The Devil's Advocate re-edit for similar reasons

Time Travel at the Movies, by Isaac M Steinholz

Novikov self-consistency principle on Wikipedia

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Well, what have we here—it's the tenth season of ENTER THE VOID! Your patience has been rewarded: Bill and Renan are back for what we are gratuitously terming "Season X". (Multiple pronunciations accepted.) This time, we're doing things a little bit differently. The good news: we'll be doing 10 films instead of 8; we're going bimonthly, which may be bad if you need your fix, or good if you already have a lot of podcast obligations (we know the feeling); and we're doing a couple of bonus episodes, including a long-overdue discussion of mindfuck television, plus a finale / retrospective / wrap-up. And here's the bad: yep, about that finale—this will be the last season of ETV, at least for awhile, as Bill and Renan turn their attentions to new projects after this. We're not saying goodbye, we're saying "indefinite hiatus". But we're excited to go out with a bang, hit 100 total episodes, and we hope you'll come along for the ride. Here are the films we've got in store for you this season:

12 Monkeys (Gilliam) / La Jetée (Marker)

8½ (Fellini)

Inception (Nolan)

Being John Malkovich (Jonze)

The Fly (Cronenberg)

Fight Club (Fincher)

Discreet Charm of the Bourgeoisie / Un Chien Andalou (Buñuel)

Perfect Blue (Kon)

Groundhog Day (Ramis)

Blue Velvet (Lynch)

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At last, it's the season 9 finale, and we go out with a bang: THE KILLING OF A SACRED DEER by writer-director Yorgos Lanthimos and co-writer Efthymis Filippou is one of the most searing film experiences of the last few years. Colin Farrell, Nicole Kidman, and Barry Keoghan star in this family drama / suspense thriller / haunted house / horror film, which despite being a tough hang that no one's really sure what it's about, was also widely praised upon release in 2017. In this episode, your hosts discuss their experiences watching it a second time, the story's roots in Greek mythology, Lanthimos' cold but invigorating style, and appraise the slippery career of one Mr. Farrell. Also: RIP FilmStruck, the streaming service that was too good to live.

Episode links:

The Killing of a Sacred Deer on IMDb

The Killing of a Sacred Deer on Wikipedia

Brian Tallerico review for RogerEbert.com

Anthony Lane review for The New Yorker

Kevin Lincoln review for NY Mag

A.O. Scott review for NY Times

Iphigenia in Aulis at Wikipedia

Trailer for Lanthimos' The Favourite

Wired on the untimely end of FilmStruck

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For the penultimate episode of season 9, your hosts alter their consciousness and explore ALTERED STATES, a 1980 sci-fi horror film written by Paddy Chayefsky, directed by Ken Russell, and today known as much for its far-out story as for its creators' infamous feud. William Hurt stars as Eddie Jessup, an academic whose experiments with sensory deprivation and hallucinogenic drugs lead him to "regress" to an earlier evolutionary state. (Literally!) Fully committed and totally bonkers, Altered States is something you have to experience for yourself, especially the wild, sexually charged religious visions; the preposterously verbose dialogue; not to mention that whole thing with the acrobatic caveman. Plus: did this movie make anyone else think of Ghostbusters?   Episode links:

Altered States on IMDb

Altered States on Wikipedia

Altered States on TV Tropes

Roger Ebert 1980 review

NY Times 1981 story on Russell vs. Chayefsky

366 Weird Movies overview

Dangerous Minds Altered States scrapbook

Acidemic 2009 essay

Den of Geek 2013 review

Nerdist 2014 review

Frieze essay on John Lilly

John C. Lilly on Wikipedia

SBS (Australia) 2017 essay

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In today's episode, your hosts grapple with the Danny Boyle-directed, Alex Garland-written 2007 science-fiction horror-thriller SUNSHINE. A commercial failure at the time, with a mixed reception among critics, the film has over the past decade gained an appreciable cult following. But what do your hosts think? Is it a spooky, contemplative outer space film with some third act troubles? Is it a stylish but conceptually thin entertainment that needed a major rethink? Maybe both! You'll just have to listen and find out. Also discussed: which story elements worked and which ones didn't; how much we should care about scientific accuracy, the career arcs of Boyle and Garland; and whether it's ever a good idea for smart characters to do dumb things.

Episode links:

Sunshine on IMDb

Sunshine on Wikipedia

Roger Ebert 2007 film review

Manohla Dargis 2007 reivew

AV Club 2007 film review

Anthony Lane 2007 review

Mark Kermode 2007 review

Vanity Fair 2009 essay on Sunshine

Popular Mechanics Brian Cox interview

IFC Danny Boyle interview

Eye for Film Danny Boyle interview

The Dissolve Alex Garland interview

TechCrunch 2017 film retrospective

Empire Online 2017 feature story

"Sunshine (Adagio in D Minor)" on YouTube

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Once nearly impossible to find and now... still pretty tough to obtain via legitimate means, Dalton Trumbo's JOHNNY GOT HIS GUN—the 1971 film he wrote and directed based on his own 1939 novel—is both legendary and forgotten at the same time. It tells the disturbing tale of a young soldier who loses his limbs and nearly all of his senses, but whose mind remains intact as he's trapped inside his own body in a military hospital. Adapted into Metallica's music video "One" and rubbing shoulders with the great anti-war and surrealist films, Johnny Got His Gun is not easy to watch. Also discussed: the film's most effective techniques; Trumbo's career and politics; other adaptations on stage and film; and its maybe-possible influence on Better Call Saul. Plus: does Metallica really own the film outright?

Episode links:

Johnny Got His Gun on IMDb

Johnny Got His Gun (film) on Wikipedia

Johnny Got His Gun (novel) on Wikipedia

Roger Ebert 1971 film review

New York Times 1971 film review

TCM overview of Johnny Got His Gun

PopMatters review of 2009 DVD release

Keith Phipps in AV Club on 2009 release

Lee Miller in Santa Fe Reporter on the novel

New York Times review of 1982 stage version

New York Times review of 2008 McKenzie film

Variety review of 2008 McKenzie version

Metallica "One" music video at YouTube

Metallica "One" music video on Wikipedia 

Column asserting Metallica owns film rights

Pitchfork retrospective on "One" video

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