"It's a savagely funny ride fueled by Araki's insight and blunt compassion."
"Plenty of films have dealt with teen isolation and many more will pile on the shocks, but few have a script this hilarious or a visual sensibility this developed."
-SAN FRANCISCO EXAMINER
"As a stylish black comedy, it is impressively uncompromising and should be applauded."
The second film in director Gregg Araki’s Teenage Apocalypse Trilogy, THE DOOM GENERATION is the ultimate embodiment of teenage angst. The film is a dystopian road film, a 90s cynical sibling to EASY RIDER, centering on the misadventures of Amy Blue (Rose McGowan), Jordan White (James Duval), and Xavier Red (Johnathan Schaech). In the film, Jordan and Amy, two troubled teens, pick up an adolescent drifter, Xavier. Together, the threesome embark on a sex and violence-filled journey through an America of psychos and quickiemarts. Ironically billed as “a heterosexual movie by Gregg Araki,” The Doom Generation is a nihilistic examination of youth, sex, and violence on the American road that explores the dynamics of abjection and polyamory. The film also features cameos from 90s icons like Heidi Fleiss, Margaret Cho, Perry Farrell, and indie queen Parker Posey.
Live performance by Kunst. Introduction by Flaming Classics co-creator Trae DeLellis.
SEX. VIOLENCE. WHATEVER. is the new series from Flaming Classics and it explores a sliver of 90s American queer cinema. The series zeros in on the nexus of a unique moment in which the New Queer Cinema, as identified by B. Ruby Rich, is coalescing while simultaneously affecting Hollywood Cinema with a new level of prestige and exposure. Moving beyond camp and queer themes, these films are united by a more radicalized queerness in which characters reject heteronormative and patriarchal culture through sexuality, violence, and whatever means necessary. These films revolve around characters who have been restrained and repressed; they are filled with angst, rage, and revolution. The films, during their original release, were mired in debates over positive and negative forms of representation and we are excited to revisit these queer classics with new eyes and evaluate them outside of the binary of good and bad.