The film devotes itself to plumbing the depths of psychology from within the Arboria Institute, a laboratory dedicated to the pursuit of “simply, happiness, contentment, inner peace.” Thus narrates a crimson-lit Dr. Gone are the fun and friendship of Stranger Things. Or don’t-it’s pretty bad.) Beyond the Black Rainbow, however, is unusually dark even for the parascience fiction subgenre. (See 1984’s Firestarter based on Steven King’s novel. Both productions are stylized period pieces, set in 1983, the time period from which they draw their horror inspiration. Both narratives follow the suffering and heroics of a magical girl (Elena or Eleven, respectively) who is raised in a laboratory and who is, herself, a scientific experiment. ( Mandy is screening at the Fantasia International Film Festival and is one of the films we’re most excited about.)īeyond the Black Rainbow would work pretty well as an art-house prequel to Stranger Things (2016-). Mandy marks the second outing of writer/director Panos Cosmatos, offering an occasion to revisit his first film, Beyond the Black Rainbow (2010). This lurid, two and a half minute pastiche of color and chainsaws explodes with the force of a thousand metal album covers, yet retains an ineffable dreaminess. If you have yet to view the trailer for Nicolas Cage’s upcoming horror film Mandy (2018), please do so at your earliest convenience.
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