Greg Araki’s The Doom Generation is full-throttle chaos from the jump—a shrieking, blood-soaked, neon-lit howl that doesn’t unfold so much as explode, and then explode again. And again. It’s sex, violence, and absurdity on repeat, each cycle more deranged than the last—and somehow, that repetition becomes the point.
Very much a time capsule of mid-’90s teenage nihilism, it plays like a queer filmmaker scribbled a hetero love triangle on the back of a burning napkin while high on sugar, rage, and discarded MTV clips—only for the emotional core to emerge in the quiet chemistry between the two men.
Part dystopian road movie, part deranged rom-com, part grotesque social satire, it walks a fine line between parody and despair. The acting’s deliberately flat, the world totally unhinged, and every punchline is dipped in acid. Trashy, ugly, magnetic mayhem—and I couldn’t look away.