#348: THE NEON DEMON

2016

Directed by Nicolas Winding Refn

Psychological Horror, Body Horror, Surrealism.

The Neon Demon is the latest film from director Nicolas Winding Refn, most famous for his runaway hit film Drive that starred Ryan Gosling. If you saw his follow up film Only God Forgives, you'll know the director took a left turn into extreme violence and experimentalism, which ended up really polarizing fans of Drive. It's safe to say that if you didn't like Only God Forgives, and are wanting to see a more story driven film like Drive again, you'll probably be best off avoiding this one!

That said, if you happened to like Only God Forgives, there is a lot to like here. From the brilliant 80s looking opening credit crawl, The Neon Demon moves at a slow, dreamlike pace and keeps you guessing where the movie is heading for the most part. 16 year old Elle Fanning stars as a model who has only just arrived to L.A. and is admired and hired by all the most esteemed photographers and modelling agencies, leaving more experienced, hard working models left in the dust. The film's dialogue is purposely a little wooden, building up a feeling that you are in this plastic Barbie Doll world. As the film goes on, the innocent Elle Fanning finds herself under threat from a sinister motel owner (in a very good supporting role from Keanu Reeves) and her jealous model peers who will go to any lengths to see her out of the modelling industry.

If you are used to Nicolas Winding Refn's previous films, you'll know that his visuals and music takes the centre stage instead of the script and plot. Refn likes to use dialogue sparingly, although there is suitably more here than his previous film Only God Forgives which seemed to lack a script entirely! Visually the film nods towards the colour tinted lenses of Michael Mann, the slow, dark and dreamy feel of David Lynch and the colour coded scenes of Dario Argento's Suspiria. The film itself is even more beautiful to look at than the largely female cast of models. The Neon Demon boasts one of the best film scores I've heard, probably since Drive. Cliff Martinez returns with a pounding Industrial/Electronic score that made me want to get out of my cinema chair and start raving! Hearing this score played loudly in the cinema kept me interested even during points where there wasn't a lot going on in the plot.

The first hour or so is relatively easy going, with a few tense moments hinting at possible horrors that might potentially unfold. For the uninitiated, it may take a while to get into the films slow pacing, and it is a film that requires some patience. Fortunately, the film is driven by a wonderful and mysterious atmosphere that I found kept me engrossed throughout. After the first hour or so comes the true biting point of the film. The last half hour descends into something reminiscent of an 80s David Cronenberg film, and the most violent parts of Drive and Only God Forgives start to turn up. The film isn't particular violent in the way of physical violence, but turns into a gross out Body Horror film that will either have the audience walking out feeling sick, or enjoying the film even more if you are into extreme cinema! The guys behind me in the cinema couldn't resist shouting "WHAT THE FUCK IS GOING ON?" during a rather repulsive scene that nods towards Nekromantik. A couple even ended up walking out before the film had finished! The last third of the film is genuinely mental and oppressive, and easily the biggest talking point of the film.

Nicolas Winding Refn doesn't seem interested in making a commercial hit film like Drive again. He is the kind of director who has the ability to wow his audience with one hand, and then genuinely repulse them with the other. As a whole I think this was a better all around film than Only God Forgives, which went to too absurd and violent heights. If you are willing to stick with The Neon Demon, there are some truly wonderous moments to be found, particularly in how immersive the visuals and score are. It felt like it could have easily been a giant music video rather than a film. Just don't go into the film expecting another Drive! 8/10.

#3.14: π

1998
Directed by Darren Aronofsky
Psychological Thriller, Surrealism

π is the debut feature film by New Yorker Darren Aronofsky, who went on to make such classics as Requiem for a Dream, The Wrestler and Black Swan. Aronofsky made this film on a super low budget, helped by friends and family who invested in his ideas. The film is shot in ultra high contrast black and white, and Aronofsky didn't even have any filming permits, having to shoot scenes on the sly. π Isn't exacly a pleasant film to look at, with lots of noise and grain in the picture, but if you are a fan of super low budget films like Clerks then you will know what you are in for. Although the film looks like a college film project, Aronofsky still manages to add an interesting visual style throughout, composing some eerie shots. The film establishes a great technological look full of computer screens, and even the small moments, like the way protagonist Max Cohen locks his door, are stylishly edited. There is an incredible scene in a New York subway that has a very eerie tone, almost jumping into pure Horror territory, reminding me of Jacob's Ladder, that has ambitious visuals considering the films restrictions.

π is one of the most unique films I have ever seen. The premise is about a mathematical genius who suffers from severe headaches and anxiety, being driven mad by mathematical formulas in his head. The film captures a superb paranoid edge throughout. Max Cohen is never quite sure whether the people he meets are his friends or his enemies, and remains isolated and cautious. Thus, the viewer shares his paranoia and the film makes you feel on edge. Aronofsky achieves this further with the use of surreal sequences where you aren't quite sure whether they are for real or just nightmares in the protagonists head. The film is edited so that the chronology of the story jumps quite rapidly from scene to scene, giving you a feeling of nausea and unease. It is difficult to tell whether the whole film takes place in one day, one week, one month or even a year. Another great aspect of π is the use of IDM/Electronic music in the soundtrack, along with Clint Mansell's eerie Dark Ambient score. The use of music by Aphex Twin, Autechre, The Orbital and Massive Attack perfectly suits the feel of the film, enhancing the mathematical and technological feel.

π is a fast paced film that manages to be gripping without having any major conflicts between characters. Any conflict seen in the film comes more from within Max Cohen's head than with anyone else. Not only is this one of the most leftfield and unique premises to any film I have seen, but the idea of viewing a film through the eyes of a character who is completely broken down mentally is something that makes it such a bold experience. This makes Max Cohen not an antagonist, but an anti-protagonist if you catch my drift! Considering I am a person who really struggles when it comes to numbers and mathematics, I found this film completely enthralling and would definitely watch it again one day! 8/10.