You remember Donnie Darko… Richard Kelly’s debut, the indie cult classic featuring Jake Gyllenhaal in a career defining role, the coolest indie music by Echo and the Bunnymen, Duran Duran, Tears for Fears, the warmholes, the rabbit…
But then again, you might not actually remember Donnie Darko. As it fades into a surreptitious glorification of all things “kick-ass” in the collective subconscious along with the recent nostalgia of late ‘90s cult films- including Larry Clarke’s Kids which turns 21 this year- you might find it challenging to identify the film’s legacy and relevance today.
Undoubtedly carrying a Smells Like Teen Spirit aura, the film is an unlikely tribute to America’s Generation X, and succeeds in transcending the timeless allure of effervescent youth, its scepticism, challenges and revolting tendencies. Using personal dilemmas and fears as main vehicles in the story, polished with wit, humour and poignant socio-political comment, the film becomes a stimulating and refreshing proposition on life’s possibilities, opportunities and decisions the way Carsten Höller might have perceived it or Hillary Clinton’s supporters had she run for the 1988 Presidency instead of Michael Dukakis.
Donnie Darko is an exceptionally bright teenager who battles with mental health problems, as well as suburban life in Virginia. He lives with his parents and two sisters, has a girlfriend, goes to therapy and sleepwalks. One day his imaginary friend, a giant rabbit called Frank, warns him that the world is coming to end in exactly 28 days, 6 hours and 12 seconds. Somewhere between visions and reality Donnie escapes death in an unprecedented accident and is urged to go out and commit a series of crimes, while exploring the dynamics of a parallel universe.