Now in Theaters! A blood-soaked man limping down a deserted road is rushed by officer Carter to a nearby hospital with a skeleton crew. Trapped inside by hooded figures, Carter discovers that the patients and staff are transforming into something inhuman.
Tokyo's nasty underside, seen primarily through the eyes of Oscar, a heavy drug user, whose sister Linda is a stripper. Oscar also has flashbacks to his childhood when trauma upends the siblings. Oscar's drug-fed hallucinations alter Tokyo's already-disconcerting nights, and after the police shoot him, he can float above and look down: on his sister's sorrow, on the rooms of a love hotel, and on life at even a molecular level. The spectrum's colors can be beautiful; it's people's colorless lives that can be ugly. And what of afterlife, is there more than a void?
This psychedelic tour of life after death is seen entirely from the point of view of Oscar (Nathaniel Brown), a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda (Paz de la Huerta). When Oscar is killed by police during a bust gone bad, his spirit journeys from the past -- where he sees his parents before their deaths -- to the present -- where he witnesses his own autopsy -- and then to the future, where he looks out for his sister from beyond the grave.
"The Void" is a six-episode comedy series that had its premiere on 31Digital (channel 44), Brisbane's community television station, in late October, 2011. The show is a "skit-com" about a group of unappreciated young filmmakers trapped by contract on a never-ending (12 years and counting) feature film project called "The Void", under the direction of a woeful, yet inexplicably pretentious twat with a seemingly limitless supply of funding.
The stories revolve around the five underlings – Lu, the drama queen lead actress; Fex, the nerdy editor/visual effects guru; Milly, the down-trodden sound recordist; Ed, the sarcastic camera operator/grip; and Wilton, the brown-nosing gopher. In their endless struggle to appease the constantly-shifting, often illogical whims of Gustaf, their fascist director, they find themselves drifting in and out of tangential fantasies, intertextual parodies and parallel universes. Such are the insanities of independent filmmaking.