"There'll come a time when all of us must leave here..." - George Harrison, The Art of Dying

Like sighs from a scythe in a wheat field of psychosis, the opening title sequence for Gaspar Noé’s Enter the Void is a melting onslaught of typographic design foisted upon the senses. This unrelenting visual overdose hacks pleasurably at the viewer, as the tip of a nail does finding its destiny. Names become bright little deaths fired to a machine gun beat; the images encircle your pupils as LFO’s "Freak" drives the nail deeper.

“Cyclops there. Cyclops there. Cyclops there... Oh, my holy crap! Surveillance doe's. I hate those.” – Brutus

'Classic' science fiction illustrations repurposed as faux forgotten novels, exhibited on sentimental backgrounds, color each credit for the opening title sequence of Jared Hess' very funny "Gentlemen Broncos."

We had an opportunity to speak with Hess about his films, and their unique openings. Our interview continues next week with musings on his feature film debut, "Napoleon Dynamite."

The hypnotic magnificence of Duncan Jones' "Moon" is the setting of a kind of space-drawn samhain built to support the machines, here harvesters of Helium-3, the latest source of our terrestrial dependency.

Affecting documentary -all of it stock footage- is unveiled as something corporate and cankerous, shortly giving way to the inviting lightness of Clint Mansell's score. The title card features an impressive use of perspective. Placement and persistence of type domineers the narrative as something akin to Kevin Spacey's lilt which plays like HAL 9000 but follows its own heart.

The inspired plot-and-character impulses of Upasana Nattoji Roy’s title design for Director Indrajit Nattoji’s “Aagey Se Right” are a stamped and stitched lot of subjective fabulism in blinkingly bright rubbery Gothic impressions. We are jolted and whisked into a lickerish dervish where M.I.A., Nina Paley and/or Gogol Bordello could be your partners in menace.

MTV P.O.V

With powdery solder burns vignetting the schematics, Blac Ionica’s opening for MTV’s “P.O.V.” animates the engineering behind the build to a tight beat with an air of retro espionage that keeps the pace.

Featuring the second best use of classic Metallica (the first being Joe Berlinger and Bruce Sinofsky’s Paradise Lost: The Child Murders at Robin Hood Hills) the title sequence to Zombieland does not back down. Flashes of jarring death slathered with slow speed splatter document a kinetic finality that does not force its humor. We see every black bauble of biohazardous blood upsurge and dot the landscape of a crippled Earth.

Gareth Smith & Jenny Lee's opening title sequence for director Jason Reitman's Up in the Air intoxicates us with neatly happenstance compositions of a casual topology from a commuter's perspective with music by Sharon Jones and the Dap Kings that savors common ground. Just below the stratosphere there is our gaze and our patterns. We're big, we're small.