What still blows my mind about Enter the Void is that

What still blows my mind about Enter the Void is that Gaspar Noé treated the camera less like an observer and more like a disembodied consciousness years before “immersive” became every filmmaker’s favorite buzzword. Plenty of movies since have borrowed the neon drift or first-person gimmicks, but very few matched how physically locked-in that movie makes you feel from shot to shot — like the cinematography itself is trapped in the story.