{"id":19154,"date":"2015-03-27T13:00:11","date_gmt":"2015-03-27T18:00:11","guid":{"rendered":"http:\/\/www.toiletovhell.com\/?p=19154"},"modified":"2015-03-26T17:18:23","modified_gmt":"2015-03-26T22:18:23","slug":"gimme-something-to-watch-beyond-the-black-rainbow","status":"publish","type":"post","link":"https:\/\/toiletovhell.com\/gimme-something-to-watch-beyond-the-black-rainbow\/","title":{"rendered":"Gimme Something to Watch: Beyond The Black Rainbow"},"content":{"rendered":"
“I looked into the eye of the god. It looked right back through me. It looked through everything… it was so, so, so beautiful. Like a black rainbow.<\/em>“<\/p>\n Released in 2009 and\u00a0and billed as a “Reagan-era fever dream,”\u00a0Beyond The Black Rainbow<\/em>\u00a0is a mind-bending hypercolor sci-fi\u00a0psychotrope of a film that uses glacial pacing, minimal dialogue, gorgeous\u00a0cinematography and stunning\u00a0music to construct a captivating atmosphere of wonder and dread.\u00a0It centers around the imprisonment of a young telepathic girl and her obsessive doctor\/captor in the\u00a0sterile and confining Arboria Institute\u00a0in 1983. The institute, it seems, is not quite the transcendent utopia\u00a0it was founded to achieve.<\/p>\n BTBR<\/em>\u00a0is the first directorial offering from Panos Cosmatos,\u00a0son of kickass-movie-making director George P. Cosmatos (Tombstone<\/em>, Cobra<\/em>), and it\u00a0wields a hypnotic eyeball-grabbing experience few other films can match. Visually, it’s equal parts 2001: A Space Odyssey<\/em>, Drive<\/em> and\u00a0Phase IV<\/em>. Symmetrical framing, slow movements, geometric patterns and colors fighting for screen dominance convey an other-worldliness that beautifully align with the film’s progressing story.<\/p>\n <\/p>\n <\/p>\n <\/p>\n Sonically,\u00a0BTBR<\/em>\u00a0is wholly immersive in both sound and score. Scenes in the institute hum and rumble with the ever-present white noise of corporate air conditioning and the low thrumming of\u00a0electrical infrastructure beneath the floors. The\u00a0soundtrack, by Jeremy Schmidt of Sinoia Caves<\/strong> and Black Mountain<\/strong>, is an analog\u00a0masterpiece\u00a0of retro keyboards and vintage synthesizer sounds that work hand-in-hand with the visuals to both evoke the era of the film and\u00a0complement the cold indifference of glass-lined hallways or the unsettling nausea of flashbacks.<\/p>\n Here’s a perfect example. Just prior to the\u00a0film’s\u00a0halfway point, the film\u00a0launches into a fantastic sequence set to a soaring moog-fueled space rock anthem (turn your speakers up for this one).<\/p>\n