1980’lerde bir çöl kasabasının Noel Baba’sı büyük şehre laf dinlemez kızını aramaya gider. Soğuk Savaş korkuları, banliyö artışı ve uyuşturuculu sandviçler bu Soğuk Savaş korkulu punk rock kolajın basit önermesini oluşturuyor.
“Orijinal 16mm A/B negatif kopyalarına ilk kez dönerek Rick Schmidt’in tamamen yeniden restore edilen oldukça düşük bütçeli hazinesi şimdiye kadar hiç olmadığı kadar görsel ve sessel temizliğiyle ışıldıyor. İçinde ayrıca 1983 orijinal kopyalarından kesilmiş parçalar da var.” —NWR
A compelling freakshow of a film that lags in the latter parts. Some truly bizarre and intoxicating sequences, especially creative with the tv segments. But calling it weird doesn't give it enough credit. We're living in the aftermath of this 80s psyche. This film highlights the paranoia, consumerism and apathy of a world out of wack. But it's ending is poor and the narrative gets derailed by the music scenes.
This is a fun, weird, seemingly improvised movie about Christmas, nuclear threat and TV, punctuated by performances by Flipper and The Mutants, two pretty cool 80s punk bands with a paranoid and angry take on consumerism and romance. A film that is anarchic and full of nervous energy, I get the feeling that it doesn't give a damn about what I think but, for the record, I liked it.
This is one of the strangest and most anarchic films I have ever seen: a weird story about a Santa Claus impersonator searching for his daughter in a time which foreshadows the dystopian future of Orwell's 1984, commentated by interviews and combined with footage on cold war hysteria, naughty punk rock, elements of performance art as well as political statements.
A very interesting film. Visually you won't see many films like Emerald Cities. The settings and collages are pretty engaging. But the film is more absurd than profound. The punk rock soundtrack adds to messy aesthetic. Honestly, I'm still not sure how I feel about the film and might never be sure, but that being said I didn't dislike the film.