, the camera hovers over and pulls back from the dead body of Oscar (Nathaniel Brown), a young man shot in a dingy Tokyo bathroom by cops during a drug bust. The camera continues pulling back until Oscar’s body vanishes. The screen fades to black until the shot appears to emerge from the drain of a Turkish toilet as a man cleans the stall where Oscar once lay. The camera maintains this overhead point of view, and then floats over Tokyo’s skyline as if a bird, settling over Oscar’s lifeless body on a coroner’s table where his younger sister Linda (Paz de la Huerta) identifies him. The camera circles over Oscar as if in quiet contemplation before plunging into the bullet hole in his chest. It eventually emerges from a circular hole in a children’s playground—before drifting over to a crematorium where Oscar’s body is entering the oven. This wordless, almost soundless six-minute odyssey suggests a woozy, nonjudgmental visual chain between the events witnessed, and the effect is strangely powerful. And it’s one of the more logical stretches in Void, a movie that after four viewings remains as confounding as it did the first, hallucinatory time around.