Panos Cosmatos brings a bold, Kubrickian vision to the screen in stunning detail in this sci-fi fable of a young woman imprisoned in an experimental laboratory and the enigmatic scientist who is her captor. Set in a futuristic 1983, Elena finds herself held against her will in a mysterious facility under the watchful eye of the sinister Dr. Barry Nyle. Pushed to her limits, Elena is left with no choice but to navigate an escape from her labyrinthine prison, in the process revealing its hidden secrets.
At once creatively futuristic and hypnotically retro, Beyond the Black Rainbow evokes the spirit of classic 1970s and ‘80s science fiction films through its vintage-inspired chromatic cinematography, elaborate set pieces, and an authentically retro sci-fi score composed entirely on analog synthesizers by Black Mountain’s Jeremy Schmidt. With all the makings of a cult classic, Beyond the Black Rainbow is sure to absorb viewers in its unique dystopian futurescape, and marks the trippy, exciting debut of a promising new talent in the science fiction world.
— Cara Cusumano, Tribeca Film Festival
The visuals and music are amazing, but an exceeding amount of one good thing is extremely annoying. Its like the best scenes in Kubrick done over and over again except not as good. It was supposed to be psychological sure, but it wasn't, it just became pretentious and unimaginative. And fuck that 1966 scene. It completely destroys the whole beautiful aesthetic that this film does so well by using actual film stock.
It's the John Maus album of '80s (and '70s and '60s) surreal and existential sci-fi/horror cinema. An idealized, laser-perfect vision of the past, like a perfect NES emulator running Ninja Gaiden II precisely the way you remember it in your most vivid dreams. There are different types of derivation and homage, and this is my favorite.
An entry collecting previews, interviews and reviews from the event known far and wide as the “film festival with the boring parts cut out.”