Benoît Debie transformed Tokyo into a hallucinatory organism for Enter the Void, shooting almost entirely at night with the citys own neon as the primary light source. The camera floats above streets, through walls, into lights themselves — and Debie lit every scene to support that disembodied perspective. The palette is defined by extreme neon saturation: magentas, cyans, and acid yellows bleed into each other with no neutral tones to anchor them. The DMT sequences push further, dissolving recognizable color into pure abstract luminance. Debie used no conventional film lighting for the street scenes, relying entirely on the existing Tokyo signage, which gives the film its specific quality of light that feels simultaneously artificial and alive. For Fujifilm, this is maximum color pushed to the point of abstraction — Velvia with extreme white balance shifts.
These recipes run on Fujifilm's film-simulation engine — any current X-series body will do. A pairing to start from: