French provocateur is an aggressive stylist who likes to use titles to unsettle an audience, weakening their defenses before going in for the kill. His first feature, 1998’s , pauses before the climatic sequence for a title-card “warning” that gives sensitive viewers 30 seconds to vacate the theaters, and his 2002 follow-up, , a rape-revenge story told in reverse, opens with the closing credits scrolling backwards and sideways in a nauseating swirl. For Enter The Void, a vapid yet mesmerizing headtrip about a dead American drug dealer floating around Tokyo, Noé offers credits that anticipate the dreamlike, neon-soaked environs of the city at night. To that end, Noé enlisted title designer Tom Kan to create a thrilling fusillade of pulsating typefaces, all set to thumping techno rhythms. The credits appear in wild fonts and flourishes, many done in Kanji and Japanese calligraphy, and the overall effect is as inviting as a great nightclub while simultaneously disturbing in its aggression. Hype Williams would rip it off wholesale pay homage to it in his video for Kanye West’s
