Two outcasts fight for survival in a sinister fantasy world. Their lives are constantly in jeopardy after they're caught in the middle of a deadly battle between bizarre monsters on their way to the ice cream shop.
In 2054, Paris is a labyrinth where all movement is monitored and recorded. Casting a shadow over everything is the city's largest company, Avalon, which insinuates itself into every aspect of contemporary life to sell its primary export -- youth and beauty. In this world of stark contrasts and rigid laws the populace is kept in line and accounted for.
Blue is a young girl navigating the streets of a terrifying, sinister fantasy world all alone. When she meets Emmm, a fellow lost soul, she joins him on a quest for some ice cream. Upon arriving, they realize the ice cream shop has been taken over by dark forces, and the whole city is teeming with evil. Bizarre monsters surround Blue and Emmm on all sides until Rain, a sadistic hero, arrives to rescue them and exterminate the source of the evil. Written by
"We are the Strange" is a work of sheer originality, a rare gem in the microcinema movement, not only because of its technical audacity but also the complete freedom attained in it's narrative. The two main characters are a young girl with big blue eyes (visually reminiscent of anime) who escapes her pimp and a sad and scared little boy. More about the story I won't describe because words won't do justice.
It happens inside a video game.
This is very important. From the stylistical choices to the apparent lack of narrative, "We are the Strange" will most likely appeal to those born after 1970. There are direct references to multiple things, most notable I would describe as hybrid the 8-bit era of video gaming, stop motion, anime and 3D with a David Lynch logic. The end result is unlike anything I've seen. It's at times silly, beautiful, depressing, always imaginative and highly atmospheric. This is sensorial film-making. Yes there is a very simple story, but all that surrounds it, truly make the films. Now when so many independent filmmakers view Quentin Tarantino, and Robert Rodriguez as their heroes, its is refreshing to see a filmmaker using the digital tools not to emulate formulas and trends created by others, but to experiment all the way and successfully create something new.
Now the music is unlike anything I've heard on film. It usually instruments from 8-bit game consoles. It's a bizarre eerie, feeling.
No doubt we are witnessing a personal film in all respects, a voice that hasn't been modified, muted, toned down to suit a specific kind of audience. It is a scream of the senses, with no attempt whatsoever at logic. You'll be missing the point. You could say that it is style over substance. But what many people fail to acknowledge is that sometimes style itself can be substance.
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