Page 69 - Metropolis Magazine nº115

to artists and young people because timent influenced the creative spirit
of their rebelliousness, experimen- of the time: David Lynch, who domi-
tation, and anti-establishment senti- nated television with his “Twin Peaks”;
ment; but the emphasis was now on Wim Wenders with “Until the End of
a sense of defeat, dejection, and the the World” (1991); Bruce LaBruce with
end of a world. Grunge was probably “No Skin Of My Ass ‘ (1991); Mike Lei-
the apogee of this temporal malai- gh with ’Naked” (1993); and, most ob-
se. Furthermore, the septuagenarian viously, Gregg Araki in his Teenage
Burroughs re-emerged as a kind of Apocalypse Trilogy (1993-97), which
living god of the alternative, outcas- metamorphoses the beat genera-
ts and marginals, a high priest of the tion into The Doom Generation. We
end times. Artists wanted his last ri- can't confirm how many of these fil-
tes and sought him out for collabo- ms the Italian director has seen, but
rations. Gus Van Sant gave him a role with “Queer” he certainly knew how
in “Drugstore Cowboy” (1989), and, to capture the feelings of a certain
of course, Cronenberg gave him the generation and experience that were
grandest bow with the adaptation of his own, and which he transposed so
his book. But this Burroughsian sen- intimately here. nuno vaz de moura