The production phase lasted less than 80 days on Kathryn Bigelow’s Strange Days, a sci-fi-romance/tech-noir action picture worth spending under $50m. It took near $9m at the box office. The critics dismissal of the film in 1995 paid no attention to the cult following it would garner in the modern day, two decades into the 21st Century of the 3rd Millennium.
A technological coup de maître, Strange Days conjoins hyperactive tempo, ragged editing and dazed perspectives. It throws the pigskin into the end zone of an anarchic, crooked universe, following former officer Lenny Nero (a black-market rebel) at the turn of the 20th Century. Nero references the cerebral frontal cortex when trading his conscious reminiscence extractions as experiences to be lived by clients. Primeval, sexual, extraordinary events and encounters capable of being lived, in reality.
The triple O.G. of Sci-Fi, James Cameron – The Abyss, T1/T2, Avatar – penned the script. Strange Days was stimulated by the notorious Los Angeles riots of ’92, and connects with societal conflicts occurring at the turn of the 20th Century in ’99; the last year from the 10th and Final Century of the 2nd Millennium. Commentaries on systemic racism, police brutality, electronics and prurience are portrayed throughout the picture. Strange Days is forewarning and divinatory; significant to contemporary years of 2019 & 2020.
Point Break. The Hurt Locker. Strange Days, 2020.
written by ardalan pourvali