Tag Archives: Dystopian

Capsules

CAPSULE: HOT SPOT (2026)

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DIRECTED BY:

FEATURING: Andrzej Konopka, Reika Kirishima,

PLOT: A detective living in a city run by a totalitarian AI, surrounded by wastelands, investigates a murder at a refugee camp and a series of cyberattacks that are accelerating the rate at which citizen’s heads are exploding.

Still from Hot Spot (2026)

COMMENTS: Agnieszka Smoczynska‘s Hot Spot has been getting slaughtered at Rotten Tomatoes and IMDb, but I’m happy to report that, while it’s no The Lure, it’s a perfectly enjoyable, if strenuously unserious, midnight movie, an experience sort of like getting heat stroke at drive-in triple feature of Mad Max, Ghost in the Shell, and ‘s version of Dune. Do not attempt to take it seriously as science fiction; just enjoy the unexpected insanity and oddball directorial decisions, and you should find it a perfectly acceptable meat-and-potatoes weird movie.

Hot Spot‘s world-building is impressive, if frequently frustrating in its refusal to follow up on details. It’s set in a wealthy city surrounded by an endless wasteland, whose residents depend on near-omnipotent AI “the Head” for their abundance. The Head requires its residents to eat a “jellybean” daily and hook themselves into its neural network in order to enjoy the benefits it brings, like telepathy and virtual reality surfing, and it strongly discourages voluntary disconnection (since disconnected citizens can engage in wasteful activities like free thought or masturbation). Aiding the city’s prosperity are a species of caterpillar-like creatures of various sizes, which feed on blood and recycle the dead into water and electricity. Oh, and every now and then citizen’s heads will spontaneously explode for unclear reasons (when not caused by cyberattacks on the Head’s infrastructure, it may to have something to do with mental hygiene, or possibly too much masturbation). The populace views random spontaneous decapitation as a small price to pay in exchange for the necessities of existence, though. It seems everyone is allowed to join the city as long as they submit to the Head and eat the jellybean, which may explain the large refugee camp outside the city gate. The plot begins when our hero, outrageously mulletted, Polish-accented detective Djonny, who married to a Japanese woman who can disconnect from the Head by singing, is assigned to investigate a murder at the refugee camp. There, he encounters a group of (mostly female) nomads who keep half their faces shrouded in hajib-like headdresses, refuse to connect to the Head, and have some kind of undefined, scarcely explored mystical powers. Djonny suspects one of the refugees, Rana (a second-billed but only marginally important Noomi Rapace), as the killer, and also suspects her of being a “cyber witch.” The real culprit will eventually be revealed (and will not be much of a surprise), but in the meantime Rana seems to put some sort of curse on Djonny, which, for reasons which are again entirely unexplained, results in him occasionally turning into a tiger.

There’s also an elf-eared assistant who hangs around in the background doing nothing, and a lot of gratuitous trippy stuff. For arbitrary reasons, the movie sports an 80s aesthetic, even beyond the star’s featured curly mullet, track suit, and smoked sunglasses. The soundtrack proudly features “The Final Countdown” and a cover of “Take My Breath Away,” and the rest of Marcin Macuk and Zuzanna Wrońska’s score oozes retro synth-pop. Overall, Hot Spot‘s post-apocalyptic vibe makes it seem like it was created according to Panos Cosmatos‘ “poisoned nostalgia” technique: a teenage boy’s flawed imagining of a story conveyed by a lurid 1981 VHS box cover.

Many complain that Hot Spot leaves genuinely promising sci-fi concepts by the wayside in favor of meaningless psychedelic trip sequences and showy nonsense. It’s a fair rap, and an easy case to make. But it seems like a serious examination of a dystopian AI-driven cyberfuture is not what Hot Spot aims at. This is still likely the most entertaining and unpredictable movie about a telepathic post-apocalyptic detective in a blond mullet slowly turning into a big cat after an encounter with a cyber witch that you will see all year, and that’s enough to justify a watch. It breezed through theaters like a sirocco, but should hit VOD/streaming soon.

WHAT THE CRITICS SAY:

“If ‘Hot Spot’‘s first fifteen minutes are a delightfully idiosyncratic barrage of sci-fi ideas, spinning ‘Blade Runner’ and ‘Dune’ and ‘Logan’s Run’ through the Eurotrash lens of ‘Valerian and Laureline,’ its remaining 90 grind through those ideas until the gears slowly screech to a halt. It’s a shame, too, because Smoczyńska managed such an interesting command of tonal strangeness in ‘The Lure’; as self-consciously weird as it was, you followed the emotional truth of what the characters were going through. Here, any thematic coherence gets a bit 404 error, right alongside its plot beats.”–Clint Worthington, RogerEbert.com (festival screening)

I think this movie is weirder than average
I think this movie is better than average

List Candidates

APOCRYPHA CANDIDATE: DECORADO (2025)

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DIRECTED BY: Alberto Vázquez

FEATURING: Voices of Asier Hormaza, Aintzane Gamiz, Kandido Uranga (original Spanish); David Goldstein, Marissa Parness, Peter Giles (English dub)

PLOT: Arnold, a mouse, feels like he’s trapped in an artificial reality.

Still from Decorado (2025)

WHY IT MIGHT JOIN THE APOCRYPHA: Decorado combines two seemingly out of place aesthetics—cute cartoons and psychodrama—but also uses an Orwellian dystopia as camouflage to discuss themes that are far more existential in nature.

COMMENTS:  Alberto Vázquez’s animations distinctly combine the cartoonish with a heavy dose of pessimism and existentialist dread. His latest feature effort, expanded from his eponymous short film, is no different. What is new is the ambiguous nature of the surrounding environment, a perfect metaphor for the confusion and angst of these anthropomorphic animals. But let’s start from the beginning.

The story revolves around mouse Arnold and his wife Maria. They live in a town structured like a miniature capitalist system, where a major corporation named ALMA governs everything. Both mice are social outcasts. Arnold remains unemployed for years, while Maria struggles to build a career as a graphic designer. Feeling exhausted by this way of life, Arnold wants to believe there is something more, a figurative and/or literal way of escape. A dark forest surrounds his hometown, and he can’t stop wondering about what might exist beyond that. Perhaps somewhere beyond lies the ideal world of absolute freedom and truth that he desperately desires.

The parabolic tone of this plot is clear. Arnold lives in an Orwellian nightmare where extensive surveillance is the norm, everyone takes medicines to stay calm and happy, and class differences are tremendous. As Arnold rebels, he finds companionship in an eclectic variety of characters, but at the same time he pays a price, by discovering the true nature of his cage.

This is not a social parable, even if it starts like one. It existentialist—almost nihilistic—in nature. Later revelations recall The Truman Show (1998), as the line between what is real and what is a facade starts to blur. That film, however, had a clear ending and catharsis, offering a concrete explanation for its world. Here, no easy answers are given. As the owl-guardian of the forest says, in this case “the (whole) World is a stage” and, perhaps, there is nothing beyond that other than the vastness of a cosmic void.

From a philosophical standpoint, Decorado has some parallelisms with Alejandro Jodorowsky‘s The Holy Mountain (1973): both movies deconstruct ideas regarding salvation and a ultimate truth by constantly reminding us, in a Brechtian way, that everything is  artificial, props and cardboard cutouts on a theatrical stage. Decorado is undoubtedly darker in tone, however, and not so explicitly didactic.

Decorado‘s narrative also works as a portrait of psychopathology. Vázquez’s works are always interested  in exploring the world of the mentally ill. In Birdboy (2015) a teenage boy shows symptoms of schizophrenia; Unicorn Wars (2022) studies the mindset of a sociopath. Here, Arnold’s wife struggles with depression—in the form of a Tinker Bell-like fairy that follows her around—while he is diagnosed with derealization disorder. Clinically defined, derealization (also known as depersonalization or dissociation) is a sense of detachment from reality—a gut feeling that something is off about the world. Decorado can therefore also be interpreted, through a strictly psychological prism, as an externalization of Arnold’s disorder. A work of art can be read in many ways, after all.

WHAT THE CRITICS SAY:

“This paranoid and dystopian vision of life under capitalism is grim but funny—surreally cartoonish yet filled with sarcastic adult ennui, like Tamala 2010: A Punk Cat In Space punctuated by a dose of Happy Tree Friends‘ goofy gore, eventually approaching something fearful and self-referential enough to evoke the existential absurdity of Charlie Kaufman.”–Jacob Oller, AV Club (contemporaneous)

Apocryphally Weird

69*. FLAMING EARS (1992)

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Rote Ohren fetzen durch Asche

Weirdest!

“In the year 2700, the year of the toads, ‘Asche’ was a burnt-out city.
Too big for its souls who banded together in dark basements.
It was an unrestrained wild animal,
ready to pee in Death’s face at any time.
And its residents were equal to it in every way.
Highly unlikely for a pure heart to survive.”–Flaming Ears introductory narration

DIRECTED BY: Ursula Pürrer, A. Hans Scheirl, Dietmar Schipek

FEATURING: Susanna Heilmayr, Ursula Pürrer, A. Hans Scheirl

PLOT: The lives of a comic book artist, a serial arsonist, and an extraterrestrial converge when Volley burns down the comix press. The artist, Spy, goes in search of vengeance, only to be beaten up by the bouncers at the club where Volley performs; Nun, Volley’s alien girlfriend, then finds Spy lying unconscious in the gutter and falls in love with her. Meanwhile, Volley develops the hots for her chauffeur, and a young girl graffitis the city with the image of a flower vase.

Still from Flaming Ears (1992)

BACKGROUND:

  • Scheirl and Pürrer became lovers in the 1980s and started making “lesbian punk home movies” in Pürrer’s Vienna apartment with a Super 8 camera and homemade props. They would later form the band Sta-Prestto make their own film soundtracks.
  • The Catholic symbolism in the film reflects the predominant conservatism of Viennese society at the time, in contrast to its very small punk scene of musicians and artists.
  • The soundtrack features the music of local punk bands, sometimes even capturing live performances. None of the music was formally licensed.
  • When Scheirl and Pürrer’s films toured women’s and feminist film festivals in the 1990s, the S&M content often proved controversial and sometimes led to walkouts.
  • The then-contemporary popularity of Fluxus theater led some viewers to assume Flaming Ears‘ outrageous style was a deliberate mockery of their performance art. This was not the intention of the filmmakers, who were simply expressing their punk aesthetic.
  • A. Hans Shceirl (Nun), also credited as Angela Hans Scheirl, is a transgender man who transitioned with testosterone in 1996. He later directed the infamous Dandy Dust (1998) and became a painter and professor at the Vienna Academy of Fine Arts.

INDELIBLE IMAGE: There’s a lot of eye-catching and provocative imagery throughout Flaming Ears, with a plethora of unusual proclivities on display. But one of its most mysterious moments occurs when the otherwise unknown Blood suddenly shows up out of the blue to grant Spy’s rotting corpse the kiss of life. It’s confusing, oddly touching yet revolting, and emblematic of Flaming Ears‘ fairy tale combination of enchantment and grotesquerie. It’s also a major pivot point in the splintered narrative.

TWO WEIRD THINGS: Erotic arson; the healing power of alien saliva

WHAT MAKES IT WEIRD: What isn’t weird about this movie? The two items listed above are only the very weirdest elements. There’s also furniture humping (with lighter fluid used as lube), an immortal alien whose severed limbs come back to life, and an oddly suggestive conversation about gardening cacti. With a rough and ready DIY aesthetic, Flaming Ears is art-house done No Wave-style. At any moment the live action can be interrupted by a stop-motion animated sequence, a prop, or a painting. In one memorable scene a cardboard cutout, with a cartoonish line-drawn face, replaces one of the actors. The dialogue is obscurely poetic and the futuristic setting thinly sketched, leaving the viewer on their own to figure out what exactly is going on, like an alien crash-landed on an unknown planet.

Flaming Ears re-release trailer

COMMENTS: Usually, films that take place in a future dystopia explain the reasons behind societal collapse, but Flaming Ears ignores Continue reading 69*. FLAMING EARS (1992) →

Capsules, It Came from the Reader-Suggested Queue

THEY CAME FROM THE READER-SUGGESTED QUEUE: THE GOLEM (1920) / GOLEM (1979)

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When Dracula, Frankenstein’s monster, the Mummy, and a host of other horror icons were lining up at the doors of Universal Studios in search of eternal fame, somehow the humble golem failed to get the invite. An immensely powerful beast molded out of clay, brought to life by a mystic Hebrew incantation, it may have had too much in common with Mary Shelley’s invention; or more likely, Hollywood’s Jewish studio chiefs prudently sidestepped anything that would offend sensitive and vociferous gentile audiences. Still, even without the spotlight, the legend of the golem has quietly endured, so much so that Golems appear in the vaunted Reader Suggestion Queue twice. Today we examine these two tales, one a literal origin story, the other something more abstract.

THE GOLEM: HOW HE CAME INTO THE WORLD (1920)

Der Golem, wie er in die Welt kam

DIRECTED BY: Paul Wegener,

FEATURING: Paul Wegener, Albert Steinrück, Lothar Müthel, Lyda Salmonova,

PLOT: When the Emperor decrees that all Jews must leave the city of Prague, Rabbi Loew invokes the help of the demon Astaroth to construct a defender for his people out of clay.

COMMENTS: An early classic of German expressionist cinema, you will find quite a few reviews of this silent rendering of the original folk tale about the avenger of clay. They tend to focus on three main topics: the source material that came to inform the film, the peculiar history of how it came to be made, and a detailed recap of the plot. It feels like someone’s got my number, because that’s where my instincts would normally lead me, as well. So let’s try and cover those basesin one fell swoop, and then we can turn in a different direction: the ancient folktale was codified in a 1915 novel, which writer/director/star Wegener spun into a trilogy. The first two, set in contemporary times, are now lost to history, but the third, a prequel delivering the backstory in which a rabbi summons the warrior to defend the Jewish people but soon loses control of his creation, has survived the years, and that leads us here.

That background established, it’s important to note how neatly The Golem serves to meet the moment while paving the way for the horror legends of the future. While the story is set in medieval Prague, the fanciful decoration owes more to Méliès than the Middle Ages: impossible peaks tower over the city, while buildings are adorned with twisty staircases and walls never Continue reading THEY CAME FROM THE READER-SUGGESTED QUEUE: THE GOLEM (1920) / GOLEM (1979) →