Of Starlight (2011)

Of Starlight is a moody, slow-burning noir that leans hard into atmosphere, inviting viewers into a neon-drenched world where memory, love, and reality bleed together. Michael DeMasi’s direction is confident and visually striking, crafting a city washed in artificial light that feels both dreamlike and suffocating — a perfect backdrop for Christopher Spare’s weary investigator as he chases a disappearance that keeps slipping just out of reach.

The film’s strengths shine through its hypnotic visuals, thoughtful pacing, and a synth-driven score that recalls the cool melancholy of Blade Runner or Ghost in the Shell. Spare delivers a grounded, emotionally bruised performance, supported by Chad Eric Smith, Joseph D. Hollabaugh, and Sally Dauer, who help pull the story between romantic yearning and psychological unrest.

Where Of Starlight might test some viewers is in its deliberate opacity. Its rhythm can be so meditative that it risks drifting into half-attention unless one is ready to lean into its strangeness. The film’s themes of grief and disorientation are present, though at times the narrative becomes so enigmatic that it’s difficult to know exactly what it wants to reveal — or if it wants to reveal anything at all.

Some elements may benefit from sharper grounding, especially the portrayal of the protagonist’s drinking. The film touches on “functional alcoholism,” but often in a way that feels more stylistic than truthful. Certain choices — like cops casually leaving bottles on their desks — strain credibility and occasionally pull focus from the otherwise immersive mood.

Still, Of Starlight succeeds as an evocative, noir-infused exploration of longing and perception. It’s a film that prioritizes tone over tidy answers, and for viewers willing to sink into its atmosphere, the journey can be unexpectedly affecting. DeMasi isn’t afraid to take risks, and even when the film wanders, it does so with intention — offering a haunting, visually compelling experience that lingers long after the final frame.

Jessie Hobson