TABLE OF CONTENTS

PRINT November 1995

REALITY BYTES

A PAINTER WHO ENROLLED in the Whitney Program before migrating to Columbia Film School, Kathryn Bigelow is something of an anomaly in Planet Hollywood. Combining an affinity for the frenetic rhythms of the thriller with a taste for subversive genre-bending that recalls her “high art” beginnings, Bigelow is a consummate technician whose balletic action sequences remind us how cinematically pure the language of violence can be. Her latest film, Strange Days, is a tech-noir set in a Los Angeles on the brink of the millennium, where conflicting visions of rapture and revolution divide the collective psyche, and the apolitical insulate themselves by getting high on other people’s lives.

With a script by director James Cameron (True Lies) and writer Jay Cocks (The Age of Innocence; The Last Temptation of Christ), Strange Days—a cyberpunk extrapolation of the archetypal noir—recasts Chandler’s

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