For many, the 1980s are a source of great nostalgia. Society has had a love affair with the bygone decade for what seems like forever, with shows such as Stranger Things only serving to intensify the yearnings. Whether it is the music, the fashion, or the technology, it seems that modern audiences cannot get enough of all things 80s. Those of that mindset should be sure to check out Michael Turney’s Video Vision at their earliest convenience.
Set in the present day, Video Vision provides a throwback to the analog age as a young woman unlocks a dark dimension via an old VCR. Kibby (Andrea Figliomeni) works in a store that fixes dead or dying technology. The store is full of old TV’s, VCRs, and Betamax players, and Kibby’s work life involves remenail tasks such as digitising old video camera tapes. Then, customer Gator (Chrystal Peterson) arrives on the scene, and the pair begin dating. At the same time a strange VCR turns up and infects Kibby with its strange powers. Can the new lovers work together to fix the problem?
Although thematically and tonally two very different films, Video Vision contains a similar energy to 2016’s Beyond the Gates. Both films treat old school technology with reverence and respect, and include some rather zany quest moments during their climax. Video Vision is however, very different in many other ways. Whereas Beyond the Gates championed the old tech, Video Vision places it into the modern world and discusses it. At the same time as arguing between the values of analog versus digital technology, Video Vision explores the binaries of gender. Gator is an openly trans man and this causes trouble for the newly formed partnership.
A vast amount of Video Vision’s runtime is reserved for conversation about gender identity. As Gator and Kibby begin to date, they talk at length about Gator’s gender journey. These conversations are fascinating, but do not always stay within politically correct bounds. Kibby is new to the concept of trans and as such, makes multiple blunders and blunt comments. These may be tough for those with a wider outlook on gender binaries, but Kibby’s behaviour and attitudes do change for the better and so Turnye’s film does present some hope. The dialogue is zippy and the leads have an easy chemistry that helps the more difficult conversational moments feel less harsh.
At the same time as the conversations about Gator are occurring, Kibby too is undergoing a transformation of her own. Suddenly Video Vision ventures into body horror territory, 80s style. Suddenly a film that has had a heavy feel of Linklater’s Before trilogy has jumped the shark into chaotic 80s quirky effects and gore. The realisation of Kibby’s videotape transformation is well constructed from a practical effects point of view, it just stretches the narrative a tad too far.
A merging of a film that is unashamedly 80s, but simultaneously modern and progressive, Video Vision is a film of multiple dualities. The audience’s enjoyment will rest upon which side of each debate – digital vs analog, modern vs old, binary vs non-binary – the viewer comes down on, but overall Video Vision has enough elements to keep most happily entertained.
Video Vision
Summary
Video Vision explores the debate between analog and digital alongside gender conversations, creating a film that is simultaneously a love letter to a bygone era, and progressive.
Video Vision was reviewed at Pigeon Shrine FrightFest 2024.
