ABSTRACT
This chapter compares Gaspar Noé's Enter the Void (2009) and Jonathan Glazer's Under the Skin (2013). The chapter analyses the way objects, bodies, and spaces act as interfaces within an interconnected network of colour in these films. In both case studies, abstract colour is an active, mobile force layered over the material world that connects, emanates from, and envelops objects, bodies, and spaces. This sense of colour as a mobile, networked force that can jump and pass through objects, people, and places parallels contemporary understandings of digitally networked space. The chapter explores how the two films vary in their articulations of the directional relationships between these networked spaces, bodies, and subjectivities, thus contributing to ambivalence about the degree of subjective agency afforded to inhabitants of composite spaces. While Enter the Void addresses the potential disintegration and disassociation of the subject, in Under the Skin colour signifies the spatial extension of the bodily and subjective agency of the female-coded alien protagonist.
