Magazine article Artforum International

Reality Bytes

Magazine article Artforum International

Reality Bytes

Article excerpt

A painter who enrolled in the Whitney Program before migrating to Columbia Film School, Kathryn Bigelow is something of an anomaly in Planet Hollywood. Combining an affinity for the frenetic rhythms of the thriller with a taste for subversive genre-bending that recalls her "high art" beginnings, Bigelow is a consummate technician whose balletic action sequences remind us how cinematically pure the language of violence can be. Her latest film, Strange Days, is a tech-noir set in a Los Angeles on the brink of the millennium, where conflicting visions of rapture and revolution divide the collective psyche, and the apolitical insulate themselves by getting high on other people's lives.

With a script by director James Cameron (True Lies) and writer Jay Cocks (The Age of innocence; The Last Temptation of Christ), Strange Days - a cyberpunk extrapolation of the archetypal noir - recasts Chandler's mean streets as paramilitarized zones where tanks roll by impassively while wasted youth bludgeon Santa Claus on the curb. Scurrying through the back alleys of a decadent underground like an oiled rat, Lenny Nero (Ralph Fiennes) peddles other people's realities preserved on MiniDiscs through the magic of SQUID (Superconducting Quantum Interference Device), a technology that records and plays back human experience "straight from the cerebral cortex," allowing the user to be anyone this time around, for a price.

Nero has broken the first commandment of the Dealer's Credo - "never get high off your own supply" - and has be come a memory addict, hooked on a feedback loop of happier times with a femme fatale who has gutted his life by the time the film begins. When he gets a snuff clip of his friend's murder, he reluctantly assumes the mantle of Philip Marlowe, and enlisting the aid of Mace (Angela Bassett), an Amazon Warrior moonlighting as a chauffeur, becomes embroiled in a conspiratorial web with enough red herrings to rival The Big Sleep.

Like Polanski's Chinatown, Strange Days is no less noir for being in color. Bigelow's blacks are black, and her light, what there is of it, is dark cyan, a visual correlative to the creeping rot eating away at her characters. And, as in her last three studio releases (Near Dark, 1987; Blue Steel, 1989; Point Break, 1991), Bigelow is no slave to the fast cut. Strange Days, her best film to date, closes with a sequence that leaves us rattled long after the credits roll. the camera lingers on the bloody face of a racist cop. Gun drawn, he drags his suicided partner along by his own handcuffs, attempting, one last time, to effect his Final Solution as confetti falls from the night sky like acid snow. ANDREW HULTKRANS: It's quite a leap from Conceptual art to the culture industry. KATHRYN BIGELOW: It does seem like a departure. I was studying painting at the San Francisco Art Institute and one of my teachers put me up for the Whitney Program, so I went. This was '73 or '74, when Conceptual art really came to the fore. I did a couple of videos with Lawrence Weiner, and I worked with Art & Language, an artists, group who were critiquing the commodification of culture. So I was very influenced by them, and my concerns moved from the plastic arts to Conceptual art and a more politicized framework. And I became dissatisfied with the art world - the fact that it requires a certain amount of knowledge to appreciate abstract material.

Film, of course, does not demand this kind of knowledge. Film was this incredible social tool that required nothing of you besides twenty minutes to two hours of your time. I felt that film was more politically correct, and I challenged myself to try to make something accessible using film, but with a conscience. I still work off that foundation. So I shot this short piece called Set Up [1978].

I was matriculating in film history and criticism. I was reading Freud, which led me to the philosophy department. I was working on Semiotext(e). …

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