SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS
SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS
Dir. Alex Proyas, 1987.
Australia. 93 min.
In English.
FRIDAY, APRIL 5 – MIDNIGHT
WEDNESDAY, APRIL 10 – 10 PM
SUNDAY, APRIL 14 – 7:30 PM
THURSDAY, APRIL 18 – 7:30 PM
Alex Proyas’s first feature is a striking, surreal, and meditative post-apocalyptic sci-fi set in the Australian outback. The film follows Felix and Betty, two ultra-religious siblings, who have lived their lives in complete isolation until the arrival of Smith, a mysterious wanderer who is attempting to elude vague malicious pursers. Smith and Felix form an unlikely friendship as Felix’s hyperfixation proves to be Smith’s only route to salvation: building a flying machine. Meanwhile, Betty acquires a hyperfixation of her own through her obsessive distrust of Smith.
SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS is a low-budget audiovisual tour-de-force. The film’s quirkiness and borderline steampunk aesthetics walk a fine line that never crosses over from inventiveness into cringe. While synthesizers typically bring to mind tight, catchy electronic melodies, they are, at their core, experimental instruments of infinite possibilities; composer Peter Miller expertly captures the film’s arid isolation with his lingering, dissonant score. If you’ve ever longed to watch a version of MAD MAX that was inspired by Tarkovsky, this is the film for you.
SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS
Dir. Alex Proyas, 1987.
Australia. 93 min.
In English.
FRIDAY, APRIL 5 – MIDNIGHT
WEDNESDAY, APRIL 10 – 10 PM
SUNDAY, APRIL 14 – 7:30 PM
THURSDAY, APRIL 18 – 7:30 PM
Alex Proyas’s first feature is a striking, surreal, and meditative post-apocalyptic sci-fi set in the Australian outback. The film follows Felix and Betty, two ultra-religious siblings, who have lived their lives in complete isolation until the arrival of Smith, a mysterious wanderer who is attempting to elude vague malicious pursers. Smith and Felix form an unlikely friendship as Felix’s hyperfixation proves to be Smith’s only route to salvation: building a flying machine. Meanwhile, Betty acquires a hyperfixation of her own through her obsessive distrust of Smith.
SPIRITS OF THE AIR, GREMLINS OF THE CLOUDS is a low-budget audiovisual tour-de-force. The film’s quirkiness and borderline steampunk aesthetics walk a fine line that never crosses over from inventiveness into cringe. While synthesizers typically bring to mind tight, catchy electronic melodies, they are, at their core, experimental instruments of infinite possibilities; composer Peter Miller expertly captures the film’s arid isolation with his lingering, dissonant score. If you’ve ever longed to watch a version of MAD MAX that was inspired by Tarkovsky, this is the film for you.
