New York, 1997. As crime has increased by 400%, Manhattan is transformed into a maximum security prison, a ghetto crowded with 3 million inmates. Target of an attack, the plane of the American president crashes on the island with top-secret documents. The president survives but is taken hostage by prisoners. Snake Plissken, a hardened criminal about to be transferred to Manhattan, is tasked by the prison warden with saving him, in exchange for his pardon. But he only has twenty-four hours …
Apocalypse soon
This film, one of the most iconic of the 1980s, a great popular success in action cinema, confirmed the talent of John Carpenter, three years later. Halloween. In breathtaking urban settings representing a fallen Manhattan, Carpenter stages with extraordinary visual scope a tension that never relaxes, and invents the luxury B series. He thus contributes, after George Miller (Mad Max, 1979), to launch the fashion for post-apocalyptic science fiction, a catastrophist futurism inaugurated in 1973 by the freezing Green Sun by Richard Fleischer (1973). Carpenter innovates with a style borrowed from comics, pulp literature and especially the Italian western. The near horizon projection encourages the director to exaggerate the carnival dimension of New York 1997, carried by a filthy human jungle and an aesthetic of recovery conducive to all daring, in the sets as in the costumes. But to assimilate the film to a pure exercise of style would be to forget that it is part of a political context common to other protest works of its time, offering a critical vision of North American society and its possible fascist drifts. . The filmmaker would deploy an even more aggressive satirical verve seven years later with Invasion Los Angeles, aired Monday, June 14.
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