Nowhere 4K 1997 Ultra HD 2160p

Story Movie

It sounds like nonsense, but it's life. A life of young people who were brought together by fate to live just one day. An ordinary day full of insecurity, doubt, fear, drugs, rap music, heavy drinking, death and love. Passionate, crazy and even more terrible love. They are nobody and live nowhere...

Review 4K Movie

This guy who induces pollution in the shower, his name is Dark. He's got a girl who knows her way around a car and her name is Mel. She's this unexpectedly skinny Negro girl with curly hair. Dark's girlfriend has a girlfriend named Lucifer, a vampiric individual with no respect for Dark. All three have a string of banal friends and acquaintances. There's Wanker - a newly minted clipclopper and powdered joy seller. It's his customer Bart - an anorexic young man with blue-eyed sadness on his face. It's Cowboy - Bart's man - who plays in the band and wants Barty to finally get off the drugs. And behind them all, at a nearby coffee table, sit some adorable girls. One's name is Bun, the other is Egg. And they both want to keep the weight off. And if they even eat a little too much, they're welcome to the white smile of the toilet. And all of them are Brett Easton Ellis's “Informants”, who inform each other of unsuitable nonsense, but are afraid to express their innermost thoughts. Dark loves Mel, but he also loves Montgomery. Mel loves everyone, much to Lucifer's dismay. Lucifer - what is she supposed to do? - gets angry and growls at Dark, whose friends Bart and Cowboy's relationship is rapidly coming to an end. And Egg just went out for a walk, because the world outside the window - some pink, colorful and a companion at hand - well done and handsome man. Parents at the same time can quietly watch their entertainment programs, guessing the capital of Kenya and baking a turkey in the oven, while the kids - in a cage, and nymphets - drive a car around the zone of Fear and Disgust somewhere in the lights of the lifeless desert. Because they just want to dance. And they also want to get together, because it's not so scary together. And you can't see the kilometer-long traffic jams. And there's no need to pretend anymore.

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Gregg Araki stayed true to himself and filmed a bright, eerily stylized and hopeless tape about the entertainment of the young and unnecessary. And everything is repeated: the hero with a video camera - from “Full P”, love tripod - from “Generation Doomed”, the search for something important, necessary, but murky, like radioactive dust - in general from every movie. However, despite the rhinestone and tonal/creamy world of Nowhere, this world sparkles with infernal snot in the hairy nose and drips alien saliva on the tortured children, with their teenage (don't believe it!) problems, beautiful but somehow sad faces under big rose-colored glasses, through which it is so pleasant to look and admire the big Nowhere.

By the way, this big Nowhere was again filmed in the suburbs of Los Angeles, for microscopic money, in the apartments of urban avant-gardists, abandoned warehouses and pavilions, at night on the bypass roads (without any agreements with the authorities and others). Like Derek Jarmen in his final stage, Araki makes do with minimal means, while remaining throughly stylish and over-the-top real.

Gregg Araki's work is a celluloid embodiment of Copeland, Ellis and other marginalized people from the margins, tired of the slaughter to preserve their freedom and love, rolled away to deserts, brothels and Martian harbors, away from this world without borders, and borders without a world where everything will be taken from you - life, time, love and hopes. So that you will have nothing left. So that you sit naked and cry. And for the man on the cathode-ray tube to tell you at the end, “The train to heaven leaves in a couple minutes. Are you in? ...Well, let's go then.”