It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Thank you.
Some features of ATS will be disabled while you continue to use an ad-blocker.
Taking its time to establish its characters and plot, BEYOND THE BLACK RAINBOW dodged the bullet of being a bring film. Slowness does not equate to boring, but be sure you’re not watching the film on a lack of sleep or while drunk. Fair warning. The story follows a young woman named Elena (Eva Allen) being held within a sterile room, housed within a massive, futuristic institute. The other central character of the very small cast is a strange authoritarian figure named Barry (Michael Rogers). Barry has an eerie, vaguely transparent obsession with Elena, a fixation that grows in intensity as his character’s own state of mind deteriorates. This facility becomes a character of its own, a seemingly new age center for wellness. Central to this institute is a sort of minimally designed crystal contraption, which is only one of the many ingredients in Cosmatos’ visual concept that can be traced to influential films such as LOGAN’S RUN. Thinking along this same train of thought, the film also has within its experimental husk an array of broader genre influences. Lovingly placed just beneath the surface is the director’s love for ’80s era cinema, particularly the slasher genre, but in a far less traditional embodiment. The film also draws from a more visually identifiable genre classics, such as BLADE RUNNER.