Aggressively arty, bizarre, and unpolished, Slava Tsukerman’s Liquid Sky is one of the coolest (and weirdest) flicks I’ve ever seen. Made for a paltry $500K, it would go on to become one of the most successful independent films of the early ‘80s and led to the genesis of the electroclash musical genre and club scene that emerged in the late ‘90s. April 15th is the 40th anniversary of the film's theatrical release in America, so I decided to take a look back.
Anne Carlisle plays aloof New Waver, Margaret. The young androgynous bisexual model and dance club enthusiast seems really to only care about fashion and cocaine. Carlisle also plays Margaret’s nemesis, the cynical and broke male model Jimmy. One night, a tiny flying saucer housing invisible aliens on the hunt for heroin descends on the roof of Margaret’s neon-drenched apartment. The aliens soon discover they can feed on the endorphins released whenever a human achieves orgasm. When Margaret’s sexual partners begin to die upon climaxing, she’s convinced that she has the power to kill with her vagina. Subplots include a wife dealing with her junkie failed writer husband and a German scientist who is dodging the advances of Jimmy’s mother while tracking the activities of the aliens.
The script was written by Tsukerman, Carlisle, and Nina V Kerova. While the narrative isn’t really a point of emphasis here, the loose and unrefined story hangs together enough to make it digestible. Dialog is not really naturalistic and the performers deliver their lines with an elevated theatrical flair. The acting isn’t what you would call “good” necessarily, but it’s certainly compelling and entertaining. Paula E Sheppard’s wild-eyed turn as Margaret’s nihilistic, drug-dealing, poetry-improvising, dead-guy-fucking girlfriend and roommate is highly watchable. Carlisle is engaging in her dual roles and carries the film well. I will say that at 112 minutes, the film is a little overlong.
So yes, the story, such as it is, could use some judicious editing. However, the world on display here is visually stunning and uniquely presented, so I didn’t really mind it overstaying its welcome. Tsukerman and DP Yuri Neyman slather the screen in vibrant colors. Nearly every frame contains neon, dayglo, outrageous clothing, or expressionistic infrared-esque first-person shots from the aliens’ POV. After my initial viewing, I wondered if PREDATOR filmmaker John McTiernan was inspired by the thermal imaging shots used here, but I digress. There are plenty of atmospheric shots of New York at night. The picture almost vibrates off the screen. The sets and costumes are lo-fi gorgeous, showcasing a DIY aesthetic.
Acting as a counterweight to the stylish imagery, there’s also a bit of sleaze present. I wouldn’t say the sex scenes are all that graphic, but rape, necrophilia, and sexual assault (not to mention drug usage and murder) have parts to play. Brenda I Hutchinson, Clive Smith, and Tsukerman’s raucous score is never not in your face, sounding like a deranged electronic church organ as played by an even more minimalist Kraftwerk.
Arthouse pretenses mingle with low-budget sci-fi in Slava Tsukerman’s avant-garde, punk as fuck Liquid Sky. As creative and stylish a film as you’re likely ever to see, it is decidedly not mainstream fare. This is one crazy flick and I absolutely adore it. Highly recommended for fans of Alphaville, Repo Man, and The Neon Demon.
Michael Cavender