Directed by Kathryn Bigelow
Former policeman Lenny Nero has moved into a more lucrative trade: the illegal sale of virtual reality-like recordings that allow users to experience the emotions and past experiences of others. While they typically contain tawdry incidents, Nero is shocked when he receives one showing a murder.
Ralph Fiennes Angela Bassett Juliette Lewis Tom Sizemore Michael Wincott Vincent D'Onofrio Glenn Plummer Brigitte Bako Richard Edson William Fichtner Josef Sommer Joe Urla Nicky Katt Michael Jace Louise LeCavalier David Carrera Jim Ishida Todd Graff Malcolm Norrington Anais Munoz Ted Haler Rio Hackford Brook Susan Parker Brandon Hammond Donald 'Donnie' Young B.J. Crockett Dex Elliott Sanders Ronnie Willis David Packer Show All…
Milos Twilight Peter Baustaedter Floyd Casey Kelly Port Casey Cannon Simon O'connor Renée Tymn Caleb J. Howard Jim Hillin Jeffrey Kalmus Andy Rosen Gary Jackemuk Leslie Huntley Patrick Shearn Mat Beck Mike Chambers James Lima
Eric Chambers Al Goto Keith Campbell Marian Green Henry Kingi Jr. Patricia M. Peters Jeff Evans Debbie Evans Mike Gunther Dick Hancock Paul E. Short Eliza Coleman Sonja Davis James Turner Jr. Danny Epper Denise Lynne Roberts Chino Binamo John Alden Gary J. Wayton Brett A. Jones Hubie Kerns Jr. Jimmy Ortega Will Leong Kira Tashjian Christian J. Fletcher Don Ruffin Monty L. Simons Jeff Mosley Gary Guercio Brian J. Williams Lynn Salvatori Ericka Bryce Paul M. Lane Eddie L. Watkins Kim Kahana Jr. J. Mark Donaldson Jim Stephan John Casino Christopher 'Critter' Antonucci Gene LeBell Jennifer Caputo Larry Holt Barbara Anne Klein Eddie Matthews Richard L. Blackwell Jeffrey Eith Gary Clayton Eugene Collier Bob Marrocco Travis Dultz Jay Caputo Ted Shred Joe Martinez Doug Coleman Laura Albert Keith Woulard
Scott Chandler Gary Holland Brian Williams Tom Myers Sean England Tom Johnson Gary Rydstrom Lora Hirschberg Tom Barwick Dennie Thorpe Richard Beggs Gloria S. Borders Sandina Bailo-Lape Tony Eckert Mary Helen Leasman Tim Holland Jeff Wexler Phil Benson David M. Ronne Frank E. Eulner
Días extraños, 21世纪的前一天, 奇日, Estranhos Prazeres, Dziwne dni, 스트레인지 데이즈, Strange Days – A halál napja, Странные дни, Чудни дани, 末世纪暴潮, Παράξενες Μέρες, A halál napja, Zvláštní dny, Amintiri periculoase, ימים משונים, Странни дни, Дивні дні, Tuhaf Günler, Keistos dienos, ストレンジ・デイズ/1999年12月31日, 21世紀的前一天, Días Extraños, უცნაური დღეები, Veidrad ajad, สิ้นศตวรรษ วันช็อกโลก, 21 世紀的前一天
Italy Venice Film Festival 
USA New York Film Festival USAR 
AustraliaR 18+ 
Japan 
Germany16 
Hong Kong 
France16 
Croatia ItalyVM14 
Argentina18 
SingaporeR21 
Greece16 
Ireland18 
UK18 
PortugalM/18 
Iceland16 
Dominican Republic 
Spain18 
BelgiumKNT/ENA 
Norway18 
Sweden15 
Hungary18 
Brazil14 
FinlandK-18 
Poland16 
Turkey 
Netherlands16 
Denmark15 
Czechia15+ 
South Korea18 USAR USAR Japan France16 USAR USAR 
Canada USAR Netherlands16 Brazil16 Netherlands16 Argentina Australia Belgium Brazil Canada Croatia Czechia Denmark Dominican Republic Finland France Germany Greece Hong Kong Hungary Iceland Ireland Italy Japan Netherlands Norway Poland Portugal Singapore South Korea Spain Sweden Turkey UK USA 
hrrrrrrrrmmmmmmmmmmm. i think kathryn bigelow is a great technical director and the pov camera stuff in this movie is incredible. i think it’s a good thriller and a fantastic idea and i wish it was more of a hit. i even think i really like the script. i just don’t think i like kathryn bigelow’s work. i wish she weren’t so fascinated with depicting grotesque, militarized violence against the marginalized, especially people of color, and if you’re gonna try and “that’s the point”-me you can kick rocks. i don’t like it! have watched plenty of other filmmakers follow similar threads without feeling my stomach sink or sensing a perverse sort of a fascination in the violence like a child magnifying…
"We made it."
Plenty of this scans dated or corny now (some of it even did at the time): the clothes, the music (Skunk Anansie!), the analog production design (physical media, how quaint) but all that gets pushed aside for Bigelow's incredible, confident realization of both the accurately predicted nominal state of near-chaos and the truly cathartic optimism at the film's core. To a lot of folks it must feel painfully naive, especially at the end, but: not many dystopian sci-fi neo-noirs are about moral imperative, people choosing to do better, zeroing the counter.
Also another reminder, Angela Bassett, goddamn
in the year 2000 no more jacking off, we are jacking IN
This movie was made in 1995, set in 1999, centered around MiniDisc technology, and eerily prescient about some key aspects of life in 2015.
"Paranoia's just reality on a finer scale."
Part Cameron tech-horror science-fiction apocalypse, part De Palma voyeuristic conspiratorial noir; both ingesting the technological paranoia of a Phillip K. Dick or William Gibson and the political/cultural reality of a post-Rodney King riots LA, and venomously spitting them all back out as a shot of pure sweaty, sensual and kinetic Bigelow action adrenaline.
An intensely violent thriller about an industry of virtual sensory fantasy that's been infected by disturbingly real racist and sexist violence (interrogating our own complicity as customers paying for nasty pulp thrill escapism), and so effective at providing that shocking level of destabilizing whiplash throughout (where you’ll see a sick car stunt or frantic shootout that belongs in a Terminator…
I love movies that are about two people who want to kiss
Kathryn Bigelow sees the future. It’s bad.
Still one of my all-time favorites, just a stunning combination of still-relevant politics, forward-thinking science fiction, a doomed relationship where the raw emotions are palpable, and Angela Bassett as a tremendous ass-kicker. The exposition and introduction of the brain-recording tech is handled so smoothly and efficiently. The cast is (almost all) top-notch and operating beautifully. The camera stunts may seem old hat today, but they were ridiculously ambitious for their era. (Kathryn Bigelow's description of how she got the opening POV sequence, presented as an extra on the DVD, is an absolutely ludicrous piece of filmmaking, involving inventing an entirely new camera and having five dudes piled on each other in the trunk of that opening car, operating the tech and providing extra on-camera hands.) I get excited about cinema all over again every time I rewatch this. I don't know why it's so criminally unavailable these days.
well fuk... angela bassett's toned arms really carried this movie
35mm. MoMA.
the world is ending
Grit and grime and glitter. Powered by a chaotic energy and a belief that the future is worth fighting for, that maybe we can make for a better future despite the horrors of the present. There’s no such thing as a good cop though. The system doesn’t allow for that. Seeing the crowd, at the edge of the new millennium, go mad against the cops is thrilling. Sometimes, violence is the answer. Angela Bassett is the MVP with my personal favorite performance of hers.
a fascinating case in duelling auteurism, arriving at a crucial point in both careers: strange days is the first time that big jim handles the idea of someone inhabiting another person's body/perception, which would later be the driving matrix behind avatar, and is also the last major time that k-bigs would make a film that didn't fully fetishize/valorize the military/CIA/cops. bigelow to me has always been an artist who burns through styles faster than she can master them; compare the patient minimalism of near dark to the overproduced de palma rip-off carnival of strange days and the dry docu-banality of zero dark thirty. while cameron's goofy cornball noir-pastiche roots this film in jim's scriptural wheelhouse, it's bigelow who cranks that…
