A Look at Beyond Your Consciousness: The Beginning, by Rinoj Varghese

An ambitious concept on a small sized budget.  

“Beyond Your Consciousness: The Beginning (2024).” IMDb, 2024, www.imdb.com/title/tt21807306/mediaviewer/rm3619584513/?ref_=tt_ov_i. Accessed 28 Oct. 2024.

The story follows Amanda, a psychiatrist, moving into a new house with her husband. However, the house is not normal; she feels something eerie stirring whenever she hears screams in the middle of the night. It seems there are ghosts lurking, but she is the only one who can hear them. Is she crazy? Is she not? The film dribbles with this question, leading to highly unexpected territory throughout.

At first, it was difficult to embrace some of ideas that I could tell could be better captured with a larger budget, especially regarding the visual effects. The dialogue often felt unrealistic and didn’t, at least with the supporting characters, convey realism with its characters. The script could have benefited from more reliance on the actors’ understanding of their characters.The main actress, Jen Ayer Drake, who plays Amanda, delivers a performance that feels relatively genuine. 

Despite the criticism regarding some choices and lost opportunities, what keeps the film engaging throughout its runtime is the unexpected twists and turns all thanks to the many choices in the cutting of the film. There is enough to be seen, and enough to be unseen, leaving much to the imagination. This independent horror film manages to maintain creativity within its ambitious concept. It offers an intriguing take on a ghost story that isn’t necessarily a ghost story.

I was particularly captured by Amanda’s first client, who is convinced of her own truth, which ultimately turns out to be nothing more than a mere fantasy. This blurring of reality and fiction propels the story forward. 

The low budget contributed to unique storytelling techniques through its sound and camerawork, evoking feelings of mysticism - like Amanada feeling too hot in one room while struggling to breathe in another, hinting at drowning. Amanda senses the tragedy that occurred in the house, motivating her to uncover the truth.

The question of whether Amanada truly sees these things or is simply crazy was incredibly engaging, prompting me to wonder if the entire narrative was a lie. That level of suspension of disbelief truly worked in my opinion. 

However, I found the ending to be somewhat cliched. I expected the film to stick to its psychological roots, as I believe that approach is more effective in horror than another twist. It left both the supernatural and psychological elements up in the air. Perhaps another rewatch would help if I missed any of the minor details that foreshadow the ending. 

While the film is far from perfect, it presents some very unique ways of telling a ghost story, along with something more. For that reason, I highly recommend this film to anyone looking for something interesting that combines various well-known elements in the horror genre. it held some very unique ways in telling a ghost story but something more.

Breaking the Rules: A Look at Strange Darling

Movies have fallen into a trap of cliches, many times over.

It’s a difficult task, finding new ground when trying to tell what an interesting story, because so many stories have already been told. From dramas to westerns, and most especially horror and thriller films, these genres have been recycled countless times. When the ideas run dry, they become comedic rather than effective. A film needs not just a well- developed and unique script but also a team of creative artists from various departments to craft something that benefits the story as a whole. Everyone needs to be on the same page, no matter how tough the journey is.

Audiences have gotten smarter, especially now that we can consume content from anywhere through streaming and social media. Many services are bloated with bad content. Yet every now and then a film stands out. And there is no better way to do that than by going back to basics and breaking the rules.

Directors who genuinely love a genre to the point where they can recognize its cliches tend ot have more success than those who are simply hired for their previous work in that genre without desire nor passion. These passionate directors can potentially leave an impactful story, and perhaps one that lingers long after the credits roll.

Strange Darling emerged seemingly out of nowhere, much like Barbarian or Parasite-films marked as horror or thrillers but delivering wild rides full of unexpected twists. Through intense preparation, creativity, and a unique voices, goes beyond overused concepts and franchises. Timing and, most of all, luck are essential. 

Directed by JT Mollner, Strange Darling is only his second feature film, yet it is highly stylized while remaining grounded in reality. Moller’s use of sparse dialogue, careful pacing, and nonlinear structure evokes Quentin Tarantino’s Pulp Fiction in its execution.

To achieve this vision, a talented cinematopgrapher is vital. I was surprised to learn that Giovanni Ribisi - an actor known for for films like Avatar and Saving Private Ryan - also has a talent for being behind the camera, not just in front of it. 

Ribisi’s work is striking. His use of oversaturated colors, particularly in close-up shots, of two people looking at one another, feels dreamlike. The shot bathed in in blue feels deliberately romantic, establishing the film as a love story before everything takes an unexpected turn. The exterior shots of the female character running, simply called “The Lady,” have a grainy texture that is very much a nod to The Texas Chainsaw Massacre. Shot on 35 mm film, the movie evokes both a classic cinematic feel and a documentary like-realism, as if the events unfolding have happened in real life. Ribisi deserves equal credit for capturing this vivid, stunning piece, blending both dreamlike and realistic styles in the most natural way.

Giovanni Ribisi on the Set of Strange Darling.

The Hollywood Reporter, The Hollywood Reporter, 23 Aug. Accessed 23 Sept. 2024.

The story is simple. We follow our two main characters, “The Lady,” and “The Demon.” Their paths never crossed, until meeting at a motel out in the middle of nowhere, before things go completely crazy.

There’s little to say, when avoiding spoilers - this is a movie best experienced with as little knowledge as possible. Many twists and turns unfold. They’re shocking, but they’re integral to the experience. The film explores the idea of not knowing who you’re with and how deep, dark secrets can emerge when you least expect them. A haunting examination on love. Is it physical attraction? Sex? Was love ever there? People naturally want more, but the confusion of what we want through physical attraction often leads to tragic consequences, driven by internal and biological desires through upbringing. 

In fleeting moments during sexual encounters, love might even bloom, but it can vanish just as quickly, especikally when the damage had already been done. Social rules - and the need to survive - often emerge to bring everything crumbling back into reality. 

Willa Fitzgerald and Kyle Gallner.

“Strange Darling Review - Create/Context - Medium.” Medium, Medium, 16 Aug. 2024, medium.com/@create.context/strange-darling-review-8ee5114c9ebf. Accessed 23 Sept. 2024.

What ultimately holds the film together are the performances. The movie could have easily devolved into a ridiculous exploitation film if the performances were not strong enough.

Willa Fitzgerald as “The Lady” delivers it strongly, moving between subtle and extreme emotions with such ease. Even from smallest gestures, like the way she looks, the way she moves her lips, gives a wide array of feelings that could pass as either mysterious, sad, or even curious. I wonder how Fitzgerald did not become a star already. After seeing this her talent deserves such recognition, and for more roles and opportunities to come in the near future. Kyle Gallner as “The Demon” is equally impressive as he slips naturally into his role. A significant leap from recalling highly mediocre films like the remake of A Nightmare on Elm Street and The Haunting in Connecticut. 

Rarely do films deserve to be called “movies” in the true cinematic sense, where every department comes together to create a cohesive and distinctive experience. I have no doubt Strange Darling will win many accolades and, hopefully, be considered a classic in the years to come. 

A Look at Effigy, by John Cairns

A highly intriguing and visual piece.

John Cairn’s new film Effigy evokes an unnerving yet reminiscing feeling of surrealistic and experimental films like the works of David Lynch and Under the Skin.

The film follows a foreign translator Catherine, played by Camille Stahl, as she lives in the isolated city of metropolitan Tokyo. Her life takes a dark turn when she encounters an enigmatic client who demands a translation. From that moment, the line between reality and imagination begins to blur, revealing Catherine’s inner depravity.

Effigy is undeniably niche, offering no clear answers as the plot unfolds, leaving the viewer with more questions than resolutions. If Schoolgirl was able to avoid cliches within a genre that could easily lean towards creative limitations, then this highly surrealistic film was able to highly compliment what an experimental horror film can do. It challenges its audience to interpret its meaning, reflecting the director’s intent to push the boundaries of contemporary storytelling.

The cinematography is nothing short of stunning, portraying the city as an isolated, ominous presence. It was as if the city itself was coming alive with the dark contrast across the buildings, where the muted colors and ominous lights beamed in the streets. The sound design enhances this sense of lurking horror, hiding just beyond the shadows. It almost felt like I was back in Silent Hill, a franchise that I adore. 

The editing is equally striking, particularly during the scenes where Catherine translates. The film cuts between her frustrated work and her drawing, with the visuals coming to life as she narrates, a technique that echoes Cairn’s earlier film, Schoolgirl Apocalypse.

For an indie film there were some very strong performances. Camille Stahl gives a very compelling and demanding performance, shifting from innocence to psychosis with subtle yet terrifying precision just by the way she looks and moves alone. Shinsuke Kao as Doggy was great too, having a profound ability by simply disappearing into his character. 

Although I didn’t fully grasp the film’s message after my first viewing—especially as it reached its ambiguous conclusion—that’s not the point of a surreal film. It’s about the visual and hypnotic experience. And yet, much like watching a David Lynch film or playing Silent Hill, there’s a persistent sense that a deeper meaning lies behind the curtain—one with layers of interpretation waiting to be uncovered. 

Another reason for a re watch!

John Cairns | WRITER | FILMMAKER | VR & INTERACTIVE CREATOR (mysterywindow.com)

A Look at Schoolgirl Apocalypse, by John Cairns

Don’t let the title fool you.

“Schoolgirl Apocalypse (2011).” IMDb, 2024, www.imdb.com/title/tt2360114/mediaviewer/rm2543430656/?ref_=tt_ov_i. Accessed 8 Aug. 2024.

As a horror fan always on the lookout for something fresh, I was pleasantly surprised by how a seemingly ridiculous premise—one that Quentin Tarantino might conjure—can turn out to be a passionate and moving take on the zombie genre.

Set in a rural area of Japan, the story follows Sakura, a schoolgirl with dreams of living abroad. Her world is turned upside down when an unknown and devastating pandemic transforms the men in her village into bloodthirsty zombies. With her home destroyed, Sakura must navigate this new reality, guided by strange dreams that might hold the key to ending the turmoil.

The film stands out thanks to its many creative choices, straying from clichés and making it all the more unexpected. The animation used in the dream sequences offers a unique approach, reflecting Sakura’s inner conflict and distancing the film from conventional horror tropes through creative experimentation. This use of animation is particularly striking, given that animation for zombie films is quite rare.

There were moments when I forgot it was an indie film, thanks to its articulate and beautiful cinematography. The film features inventive angles and transitions, such as a scene where mirrors on side streets reveal a man’s illness before cutting to his transformation into a zombie, or the way sheets flap on the roof when Sakura defends herself from the zombies.

The pacing demands a certain amount of patience, allowing the suspense to build effectively before delivering the horror. While I wouldn’t necessarily call this a scary film, it is an effective one. It’s more of a coming-of-age story, focusing heavily on Sakura’s journey from aspiring dreamer to survivor. This character-driven approach makes it all the more endearing, providing a depth that many horror films lack, while adding a touch of humor and fun along the way without hindering the overall tone and pace of the story. 

An impressive piece of work by an indie team outside of Hollywood. After seeing this, I’m eagerly anticipating the director’s second film, Effigy.

John Cairns | WRITER | FILMMAKER | VR & INTERACTIVE CREATOR (mysterywindow.com)

Godzilla Plus One Hundred, A Look at Godzilla Minus One

A gripping blockbuster, surprising many during its seventy-year run since the original film. It was different from the other movies in the series, made with intense passion. It doesn’t require as much money compared to most big-budget studio films. Most Hollywood blockbusters cost more money and fail at hitting the right marks in terms of endearing characterization, which is essential for a good movie.

By successfully returning to the roots of what made the original film so impactful Takashi Yamazaki created a unique action film, set in a context that makes Godzilla all the more terrifying.

A still of Godzilla, from “Godzilla Minus One”. Toho Co., Ltd. 

After the release of the original movie, it succeeded in portraying a monster that symbolized nuclear paranoia in the aftermath of the bombings of Hiroshima and Nagasaki. Since then, the franchise has undergone numerous iterations, some veering into being silly. There are benefits to be found in visual and practical effects, as well as epic kaiju (monster) battles, depending on the audience, no matter how comical.

Each film in the franchise has left a unique mark. Shin Godzilla by Hideaki Anno was a step up at the time for its satirical portrayal of government dysfunction, but it lacked distinct human characters. A common criticism of the many films in the franchise is the need for more well-developed human characters. Often, they are portrayed merely as agents for the audience, serving as plot devices rather than fully realized individuals with genuine emotions and personalities.

Rather than subtly incorporating themes of nuclear paranoia in a contemporary setting, Minus One opts to revisit the Postwar era as its backdrop, focusing on Koichi Shikishima, a kamikaze pilot. He finds himself stranded on Odo Island after abandoning his mission out of cowardice. Godzilla’s sudden appearance on the island results in the devastation of other survivors, leaving Koichi to face yet another harrowing ordeal for survival.

Koichi’s journey is a poignant one, grappling with survivor’s guilt and post-traumatic stress. Upon his return, he is confronted with the sight of homes reduced to ashes, including his own, a constant reminder of his perceived failure by those who view survival as defeat rather than triumph. As life gradually gains momentum, he cares for Noriko and their adopted child. However, Godzilla’s presence weighs on him as he struggles between life and death, bringing him and everyone back to their lowest point, from zero to minus one. 

The concept of honor began in the Sengoku Era of Japan before it was called Bushido, a form of duty in the Tokugawa Era. Fulfilling one’s duty has long been ingrained. Those deployed were expected to fulfill their roles in service of the Emperor of Japan. The nation stood as one, at the expense of personal desires. If one answered, others were compelled to follow the same path. To refuse was to risk living in disgrace. “The film critiques the inhumanity,” said Jones and Trefalt, “visited upon soldiers who served within a wartime imperial army and navy paradigm in which honor was predicated on their willingness to die in service to the emperor, and thus the nation.” - Japan Today. “Godzilla Minus One” Offers Insight into Complexity of Japan’s War Memories - Japan Today.” Japantoday.com, 2 Feb. 2024, japantoday.com/category/opinion/%27godzilla-minus-one%27-offers-an-insight-into-complexity-of-japan%E2%80%99s-war-memories.

To tackle themes that resonate deeply with its culture adds a layer that makes it all the more empowering. Any film that addresses the realities of war can experience its grimness. Countless individuals lost their homes, their families, and their sense of hope. Hope was a scarce commodity, as it took many years for Japan to recover from the effects of the war. “Whenever Godzilla appears in the film,” said the director, “he brings a kind of reflection on nuclear war and any manmade crisis. In postwar Japan, citizens were decimated, survivors everywhere were in desperate need of help, and I wanted audiences to gain an understanding of how Japanese survivors felt after WWII.” -Pulliam-Moore, Charles. “The influences of Godzilla Minus One Go beyond the Atom Bomb.” The Verge 4, Dec. 2023, www.theverge.com/23984534/godzilla-minus-one-interview-takashi-yamazaki.

A still of Koichi Shikishima, played by Kamiki Ryunosuke, from “Godzilla Minus One”. Toho Co., Ltd. 

Yamazaki masterfully heightens the suspense by crafting scenes reminiscent of early films by Steven Spielberg. A sense of dread occurs as an omniscient tune plays; Koichi’s hand trembles in fear, preventing Koichi from taking the shot at Godzilla. This moment creates an atmosphere where anything seems possible, yet disaster looms regardless of the outcome. As Koichi and the others flee in a minesweeper, Godzilla’s relentless pursuit evokes the shark from Jaws. These early sequences serve as mere appetizers before Godzilla fully asserts his presence. He leaves a trail of destruction in Tokyo, crushing civilians beneath his feet, and reducing buildings to rubble with his tail. His scales bristle one by one before releasing his iconic atomic breath. The film blends classical techniques and effects that believably simulate a high production. While visually stunning, Minus One transcends mere spectacle through its heavy subject matter and nuanced character development. By prioritizing the personal journey of individuals who create their own choices rather than adhering to expected conventions. It elevates itself beyond mere entertainment to a thought-provoking exploration of human resilience.

The characters become singularly focused on defeating Godzilla, having made the decisive choice to confront the monster on their terms. This act symbolizes the country’s collective need to move beyond the war, seeking to alleviate guilt and trauma by confronting their monster head-on.

In contrast with the original, Minus One leans heavily on the importance of preservation rather than destruction. Rather than resorting to a weapon of mass destruction akin to the atomic bomb, such as the Oxygen Destroyer, the characters explore alternative avenues. Defeating a monster would require what created it. Yet, to resort to such a weapon would make them no different from those responsible for the bombings on civilians. Minus One offers a glimmer of hope, suggesting by choosing life over destruction, there exists a possibility of healing after a profound tragedy.

A still of the Visual Effects workflow of “Godzilla Minus One”. Toho., Ltd. 

The visual effects were achieved on a modest budget. While most Hollywood blockbusters typically require two to three hundred million dollars, Minus One was produced for under fifteen million dollars. This was accomplished with a small crew in the visual effects department, including Yamazaki himself. Working closely with the team, Yamazaki provided significant creative input while ensuring efficient and timely delivery of the required results. It is very efficient, he said because there’s no gap between what the director is thinking or asking for and the work that is being brought to me. - Grebey, James. “Godzilla Minus One Pulled off Its Oscar-Winning VFX for Less than $15 Million.” Vulture, 10 Mar. 2024, www.vulture.com/article/godzilla-minus-ones-oscar-nominated-vfx-budget-was-usd15-m.html.

The production team made various strategies to stay within budget, such as reusing set pieces and manipulating exterior shots to be captured during post-production. He noted that Japan's Visual Effects departments and production studios are typically smaller than their Hollywood counterparts. While Hollywood relies on third-party sources to supplement their productions, this can significantly inflate the budget. Japanese studios have the advantage of efficiently handling everything in-house, which allows for more streamlined and cost-effective production processes.

A still of Godzilla looking at the mushroom cloud, from “Godzilla Minus One”. Toho., Ltd. 

For Visual Effects, Minus One made history by becoming the first film in the franchise to win an Academy Award. It earned acclaim as one of the best movies of 2023.

As is often the case with successful films, there will inevitably be many imitators in the future. Other studios may attempt to replicate Minus One’s techniques but without the same level of authenticity. It’s a familiar pattern in the industry, for both film and television, before another truly unique one emerges. Game of Thrones was hailed as groundbreaking during its run, and numerous shows with high production values sought to emulate its quality. But many fell short of creating their own magical identity.

Yet, despite replicating past successes, it’s important to recognize that success in filmmaking requires more than its technical prowess. With the right team of individuals and a solidly crafted script serving as the foundation, a movie has the potential to resonate with audiences and achieve success on its own merits.

Violence Begets Violence, A Look at Irreversible

This Review refers to sexual violence and rape. Viewer discretion is advised. 

Irreversible was, and still is, not for everyone. And rightfully so. It is a hard film to watch. There was a reason why film critic Roger Ebert said, “Irreversible is a movie so violent and cruel that most people will find it unwatchable.” - Ebert, Roger. “Irreversible Movie Review & Film Summary (2003): Roger Ebert.” Movie Review & Film Summary (2003) | Roger Ebert, www.rogerebert.com/reviews/irreversible-2003. 

“Irreversible, 2002.” Irreversible movie review & film summary (2003) | Roger Ebert

The film was released in the year 2002. It had gained moderate recognition through film festivals, winning the Bronze Horse Award at the Stockholm International Film Festival, but it left many leaving the theater enraged and disgusted, due to the high level of graphic violence. In Newsweek in 2003, film critic David Ansen wrote: “If outraged viewers (mostly women) at the Cannes Film Festival are any indication, this will be the most walked-out-of-movie of 2003.” - Ansen, David. “How Far Is Too Far?”, Newsweek, 13 Mar. 2010, www.newsweek.com/how-far-too-far-132821.

One would have to take a serious amount of thought to let a film like this sink in when the violence becomes extreme, and those who don’t should rightfully walk away. With the content heavy, it is also an arthouse film, breaking many trends from most films. It follows a trend of exploitative films with a statement about society, like Salo, or The 120 Days of Sodom by Pier Paolo Pasolini, or even The Last House on the Left, by Wes Craven.

From a technical and artistic standpoint, the film doesn’t work well for many. The color styles are muddy, the camera movement is dizzy, and the sound design is nauseating. This is noted in many of Gaspar Noe’s works since he uses specific, nauseating techniques that will leave many uncomfortable no matter what. Are all that he does simply to provoke and sicken? Or does he use it for something interesting? Both, perhaps. He can be viewed as nothing more than a provocateur with challenging films. The whole experience in Irreversible is uncomfortable to begin with.

Over the years there were two takeaways. One, that yes, it is incredibly violent. But others have looked at it admirably as an art piece. Yes, it is extreme, but the film gives more thought to the consequences surrounding the violence. 

The story begins with two men named Marcus and Pierre, played by Vincent Cassel and Albert Dupontel. Marcus is a lover, while Pierre is an ex-lover to Alex, played by Monica Belluci. Rather than the cause leading to effect it is the effect, leading to the cause. The story is told backward, similar to the structure of Chris Nolan’s Memento. Marcus and Pierre go to a BDSM club late at night, looking for someone named Le Tenia. We don’t know why at first, but it ends with such ruthlessness. Whatever Le Tenia did pushed them to the limit. It left him knocked in the face with a fire extinguisher by Pierre, more than once until his face was smashed in completely. A horrifying act, to say the least. It was unfortunately not until later in the film that we realized they got the wrong man. Noe’s decision with the narrative structure gives more time to think of what could have led such decent men to become animals. 

Alex’s rape by Le Tenia had no cuts, and the camera never moved. It held on, bearing witness to a crime that was way too extreme due to its length. A truly horrible, tragic scene. It culminates into the worst of humanity shown, making it all the more hateful. We want it to cut away and be completely removed from such horror but Noe held onto it. “Because the subject of the movie was a rape,” he said,  “I said that it has to be as powerful as it can be, to be disgusting enough, to be useful.” - Macnab, G. (2002) ‘The rape had to be disgusting to be useful’, The Guardian.

Extreme violence doesn’t just implicate what it does to the victim but those around it. An unfortunate notion, that even the most vile acts of violence can lead to acts of aggression no matter how moral it was when it comes to revenge. It can even affect someone like-minded like Pierre, who tried to calm Marcus from doing anything rational, but he too was affected as much as Marcus was, even without knowing that he could be capable of it. Violence is a natural act, but the moral died at the beginning when they caught the wrong man, putting them on the same level as Alex’s attacker. Succumbing to these aggressive behaviors can only lead to hell rather than the other way around.

While we have seen the cause of revenge the film does not stop there. It keeps going. We go past the incident, going back even further. Noe wanted to go beyond the violence, to see other effects that have been put into play. 

“Alex dancing at the party.”  “Irreversible” Analysis: A Condemnation of Violence Against Women and its Depiction in Film – In Their Own League.

There were implications through visuals and dialogue that beg the question, was it inevitable? Alex is dressed seductively at a party with many others, including Marcus and Pierre. While she is headstrong, independent, and honest, it is within human nature for women to want to be attractive. It isn’t always wise to be dressed in a certain way, especially in a highly sexual manner. Because of the story's reverse order, we are taken into looking at other essential factors in what Pierre and Marcus could have done rather than we, the audience, put it on Alex for simply being the victim. Mistakes were made from all sides. If Pierre was more convincing, taking her home rather than leaving her be, perhaps things would have changed. In regards to Marcus in his male role, he should have been there for her, rather than succumbing to drinking and taking drugs after his horrible argument with Alex at the party. “It is their diverse weaknesses,” said Dmitri Ng, “Where Irréversible seeks to at least establish itself as critical of men. They disregard each other with implications of pride and social position, and for what? It would seem that men today are guilty of this problem too.” Ng, Dimitri. “Irreversible (2002).” Medium, Medium, 1 Dec. 2020.

“Marcus, Pierre, and Alex on the train.” [Film Review] Irreversible (2002) (Straight Cut) — Ghouls Magazine

Relationship dynamics were explored. We transition to when all three are sitting together, talking on the train. It shows a subtle yet meaningful take on the perspective of relationships and sex. Alex states that Pierre was too focused on satisfying her rather than on himself. If he was more selfish perhaps their relationship would have lasted longer. It’s more disturbing knowing what will happen since it foreshadows the rape. It blurs the idea of consent. It is without consent that violence can go wrong and that all men seem to be capable of such things. “Before being humans with morals,” said Noe, “people are mostly animals, fighting for domination and survival.” 

The film strays further from the revenge story, moving towards what becomes a completely different tone later. The colors change, looking all the more brighter. It becomes less nauseating with camera movement and sound. It leads to what were happier days when Alex told Marcus that she was pregnant with a child. It seems as if the audience, through the eyes of the characters, looks back and wishes for better days to come back because of how traumatic things have turned. Seeing Alex lying down with her book in hand, seeing how everything looks bright heavily contrasts what has happened, making it all the more uncomfortable before the camera pulls back, cycling round and round in a strobe effect, with a quote reading: “Le Temps Detruit Tout,” which means, “Time Destroys Everything. It can only be a matter of time before what is done, cannot be undone, and the technical and artistic styles used including the structure, simply enhanced that notion. According to a passage from Films, Deconstructed: “Tragedy doesn’t only happen during bad weather or bad times. It can happen on gorgeous days too.” - “Irreversible (2002) Might Be the Most Misunderstood Film of All Time - Page 3 - Films, Deconstructed.” Filmsdeconstructed.com

“Monica Bellucci in Irreversible (2002).” Irreversible (2002) (imdb.com)

Yes, incredibly grim, and one that is hard to recommend, but rarely is there a film trying to give an interesting statement about violence. Provocative, yes, and the violence was too honest. It stands out though, by never glorifying what is occurring on screen. “But it is unflinchingly honest, said Ebert, “about the crime of rape. It does not exploit. It does not pander. It has been said that no matter what it pretends, pornography argues for what it shows. “Irreversible” is not pornography.  

So many films, especially American torture porn films, seem to use violence and sex to give a temporary, reactive response, rather than use it for something else entirely. Violence can be used in so many ways, and it is easy to fall into the pit of using it for entertainment, no matter how graphic, and shocking it is.

Grappling with Time, A Look at Strange Days

Most genre films, with unconventional styles, were not always successful compared to other major studio productions. Strange Days crippled Kathryn Bigelow’s career as a director at the time of its release, but its unique techniques and grim tone created a timeless piece through the years with its contextual themes that are all too close to current events.

Originally conceived by director James Cameron in the mid-eighties, Kathryn Bigelow took the helm to realize the film’s true potential, believing it could truly capture her impressions on certain social issues. “Film was this incredible social tool that required nothing of you besides twenty minutes to two hours of your time,” she said, “I felt that film was more politically correct, and I challenged myself to try to make something accessible using film, but with a conscience.” -Hultkrans, Andrew. “Reality Bytes.” Artforum, 13 Mar. 2010. 

While taking the source of James Cameron’s concept and inspiration from the Lorena Bobbit trial and the riots following the Rodney King verdict in Los Angeles, in 1992, Bigelow set out to make a film that was more than simply a genre film.

The choice in cinematography was immediately apparent in the opening sequence, depicting a failed robbery in the first-person perspective of one of the criminals. Instead of a slow build-up, the scene feels immediate, inviting the audience into the story with ease as it becomes fast-paced, leaving no breathing room until the very end when one of the criminals falls to his death. In one of her many interviews on her creative choices, Bigelow said, “I respond to movies that get in your face…that can be provocative or challenge you, that take some risks.” - “Kathryn Bigelow: Directorial Trademarks.” Kathryn Bigelow: Directorial Trademarks - YouTube

This particular style plays out throughout the film, depicting moments of pleasure against moments of intense violence that show the worst in human beings. Bigelow has always been known to take such risks, trying to evoke, in particular, violence in a grounded manner. The film Near Dark, a vampire Western film did not hold back on its violence as a reflection of the psychology of its characters, in the guise of a horror film.

Bigelow’s decision in Strange Days was to draw the audience in and fully experience the film in real-time, like a documentary. We shift between what is shown voyeuristically to the third-person perspective of Lenny Nero, played by Ralph Fiennes. He sells recorded experiences where anyone can be anyone they want to be, whether a cripple running on a beach, passing by a beautiful woman, or a married man having extramarital sex without cheating with another person. Lenny sells these experiences as his livelihood, but what he sells is nothing more than memories from various people’s lives. Lenny is a man completely broken, addicted to flashbacks of his own experiences, playing back memories of his time with former girlfriend Faith, played by Juliette Lewis. Lenny was happy then, but his memories become an addiction, an obsession, and a distraction rather than leaving it all behind as the world around him becomes inflamed in disorder, struggling to move on as much as Lenny. Only when Lenny witnesses the murder of a prostitute from the killer’s perspective does Lenny’s perspective actually shift into focus.

The film’s view on technology could not be further from reality in a world that runs on instant gratification, whether for information from computers, or communication by smartphones.

The film showcases the harm that creeps into every corner of our lives, until people become detached from reality, dangerous to the point of forgetting the here and now, depriving many of potential growth. Technology becomes no different than a drug, or sex, or porn, as the tendency to feel for the sake of feeling - the rush of adrenaline or cortisol - causes humans to forget that we are mortal, elevating fantasy over reality.

Critic Travis Johnson opined, “We’re a planet of voyeurs, living vicariously through the digitally captured experiences of other people we will never meet. Strange Days might have gotten the specific details wrong, but it was right on the money when it came to the vibe.” - “25 Years On, Cyberpunk Classic “Strange Days” Looks like a Documentary.” Blunt Magazine, 25 Oct. 2020.

Ralph Fiennes was able to pull off a completely broken character but with a touch of charm. His charm may sell his recordings, but he’s really a slimeball, waving fake Rolexes to avoid a beating, or doing his business deals in the backseat of his friend’s limo. He is in no way a hero. He is indecisive, and cowardly in dire situations, devoid of empathy except for his girlfriend Faith. When he lost her, Lenny lost faith in the world, to care, even for himself, but deep down there is good in him, waiting to be freed, as he struggles to let go of the only moments when he felt truly happy.

Meanwhile, the character Mace, played by Angela Bassett, is his moral compass. Mace breaks the usual norms of most neo-noir films. She might have been portrayed as a damsel in distress, but instead Mace plays the moral center as a strong female character; and Bassett’s physique matches her character’s strong personality, her only tenderness reserved for Lenny and her son. She is as broken as Lenny but strives to keep going no matter what because of her son and the social upheaval that conspires against her people. Lenny speaks for the past, while Mace hopes for the future.

More noir than science fiction, the film takes two archetypal noir characters and flips their roles in a very interesting way. More often than not Mace is the male detective, and Lenny is the damsel in distress. It’s a fresh and interesting perspective, and while it could have leaned too much in that direction it did not. Bigelow excels at subverting the cliches of genre. “Mace is the narrative’s moral center, so she’s simply capable of resisting. Whereas Lenny, being morally decentered, is floundering in his own narcissistic tide pool, which he doesn’t seem able to escape. It’s different to have a hero who evinces feelings and is therefore construed as weak. These are clichés that desperately need subverting.” -Hultkrans, Andrew. “Reality Bytes.” Art forum, 13 Mar. 2010. 

Bigelow’s artistic choice fleshes out her characters and grounds them more in reality as they struggle to move on from their trauma. Thematically, Nero is stuck and cannot move on from Faith, while Mace represents the possibilities of the future. Evocative of the movie poster, Lenny in the middle, Faith at the bottom, and Mace at the top, Lenny is stuck between two worlds: his fantasy and his reality, his past and his future. The past is buried, unable to be regained, while the future hovers above him, waiting to be grabbed. Which will he choose? His past? Or his future? 

20th Century Fox, “Strange Days Movie Poster.” I LUV CINEMA, 22 June. 2011. Accessed 31 Oct. 2023. http://iluvcinema.com/2011/06/tuesdays-overlooked-films-strangedays/

The film’s social issues are a haunting reminder of life today, where time becomes irrelevant, as technology and content absorption outpace the individual, gun violence is rampant in the streets and school districts, giving birth to violent riots, and racial prejudice seems more prevalent than ever in the wake of the COVID pandemic and Trumpism.

As Thomas Hobbs said, “The way America is depicted as being ruled by an aggressive Law and Order police state, where officers freely erase anyone who gets in their way, as well as the murder of Jeriko One, which has obvious echoes of the death of George Floyd and so many other black lives, are distinctly Trumpian themes. Yet it’s the idea that all of this anarchy could be defeated by altering our reckless relationship with technology that makes Strange Days feel so much more relevant now than it did back in 1995.” - “The Sobering Prescience of Kathryn Bigelow’s Strange Days,” Little White Lies, 13 Oct. 2020. 

Jeriko One, murdered by corrupt and brutal cops, and Mace’s bludgeoning near the end of the film, were all too similar to the death of George Floyd. Similar to videos of George Floyd’s death, Strange Days uses a voyeuristic first-person perspective to capture inhumanity in moments such as the rape and murder of Iris. We are there, witnessing these horrible crimes as the victim begs for her life to no avail. Just as helpless as the victim, we can do nothing but watch it play out on screen. “Bigelow can exploit the idea of what is happening,” Roger Ebert said, “she forces her audience to deal with the screen reality, instead of allowing us to process it as routine “action.” - Ebert, Roger. “Strange Days Movie Review & Film Summary (1995) | Roger Ebert.

As ambitious as this film is, there were times when the script struggled to hold it together, in its one-hundred-and-forty-five-minute runtime, especially with its sweeping landscape of racial and social issues as the backdrop for a main character who sells and surfs through playback. Too many elements can be a detriment to a film. It can ruin the pacing, and it can leave most viewers in the dust, rushing past essential moments as the plot moves too quickly to allow the viewer moments to let some vital information sink in. The film’s timeliness, however, is what makes it enduring. Strange Days may not have been a success, but it creeps back into our psyche, just like playback, precisely because it’s so evocative of current events.

As technology and the media outpace the individual, there seems to be little hope as to whether people can truly learn from the past to shape the present in hopes for future generations. What may strike some as a Hollywood moment, is when Lenny embraces Mace at the end of the movie. However, they are not just characters, they are ideas of hope to reshape the future, and their embrace symbolizes hope, not playback.