BEYOND THE BLACK RAINBOW

bbraAt the end of Beyond the Black Rainbow, directed by Panos Cosmatos (son of George P. Cosmatos, who directed Rambo: First Blood Part II, Cobra, and Leviathan), a period of quiet contemplation is required to begin unpacking everything one has seen during the preceding 110 minutes. The surreal swirl of stark futurism, psychedelia, and neon indulgence is…pleasantly overwhelming? Comfortably disturbing? Certainly it’s something that demands one’s attention even as it lulls you into a fugue state. It’s a difficult film for one to get one’s head around without setting aside a period to ponder its content and meaning; an oblique, stylish blend of giallo and science fiction somewhere between the riotous visual excess of Dario Argento’s Suspiria, the fashion sense of Logan’s Run, and the clinical frigidity of Stanley Kubrick’s A Clockwork Orange, within in which is a plot that plays like an unseen side plot that would have appeared in Akiraor an early David Cronenberg film.


Keith Allison is the chief bacchanologist at MEZZANOTTE.


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