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Interview: Paz de la Huerta and Nathaniel Brown (Enter the Void)

Posted by Sean Glass on Sep 21, 2010
Source: IONCINEMA.com Exclusive

Enter the Void is Nathaniel Brown's acting debut. Brown is an aspiring filmmaker and Gaspar Noe actually chose to cast him for this reason, as the young actor is behind the camera for a great deal of the film, considered the subjective camera. This must have been a fantastic film school for him, as he describes in the interview being “bear hugged” by Noe as they work the camera together.

Paz de la Huerta is the reverse end of that spectrum, being a seasoned pro even at such a young age. De la Huerta has recently been seen in films like The Guitar, The Limits of Control and Choke. She’s made herself a well-known rising star on the festival circuit. In the interview, she discusses her frustrations with working with amateur actors, and perhaps being given too much freedom by Noe. Look for De la Huerta on the just premiered, HBO’s Boardwalk Empire.

Clearly good friends, their relationship in real life seems to reflect their relationship in the film. They are brother and sister, however, this is a Gaspar Noe film, so there’s always something a little off. Their very close relationship is mired by the tension of implied incestuous feelings throughout, even though those feelings are never consummated. Check out their May 2009 photo shoot with Nan Goldin for V Magazine for more of an idea.

This interview was conducted prior to the packed screening at Lincoln Center’s Walter Reade Theater in August. Much to my surprise, Noe (you can see my interview with him here) was light-hearted and charming. Brown was refreshingly excited about the forthcoming release and De la Huerta was stunning and composed in ways that would not be expected of a twenty-five year old. 

 



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Reviews

Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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