Neon Spring – first-look review | Little White Lies

Festivals

Neon Spring – first-look review

23 Aug 2022

Words by Xuanlin Tham

Three young people conversing in dimly lit room
Three young people conversing in dimly lit room
A young woman with a dif­fi­cult home life dis­cov­ers Riga’s rave scene in Matiss Kaza­’s fourth feature.

On our screens, the image of young adult­hood is so hyper-aes­theti­cised that see­ing a film about the Lat­vian rave scene titled Neon Spring might tempt us to locate it along­side some ultra-glossy, vibes-cen­tric Eupho­ria-esque fare. If so, that expec­ta­tion is rapid­ly dis­mem­bered by the film’s sec­ond scene: as a young woman and her boyfriend descend into the base­ment of a dis­in­te­grat­ing build­ing (where else does one rave?), tech­no beats bash in our skulls with wince-induc­ing sharp­ness, and a nau­se­at­ing­ly hand­held cam­era whips up, down, and around the cor­ners of an ugly, unsexy under­world. Peo­ple writhe on the side­lines, dis­pas­sion­ate­ly mak­ing out like bad­ly-ani­mat­ed video game NPCs. There’s no heat, no romance, no grind­ing of sweaty flesh on the dancefloor. 

Don’t get it twist­ed – Neon Spring is still very much a vibes movie, but one that’s acute­ly aware of the inau­then­tic­i­ty that entails. Cruis­ing between the clubs, alley­ways, and drugged-up house par­ties of sub­ur­ban Riga, it main­tains a cold­ly obser­va­tion­al gaze that refus­es to either roman­ti­cise or moralise its char­ac­ters’ dead-eyed reck­less­ness. A con­stant­ly estrang­ing expe­ri­ence that harshens and dis­torts the well-worn aes­thet­ic lan­guage of oth­er neon-lit com­ing-of-agers, it’s more inter­est­ed in explor­ing the yawn­ing gap between sur­face per­for­mance and inac­ces­si­ble, unknow­able feel­ing. I’m not high, I’m just pre­tend­ing,” a young man says, squirm­ing on the car­pet while his friends do lines of coke off their phones. The cocaine, cru­cial­ly, is less impor­tant than the the­atri­cal­i­ty of it – a behav­iour­al script they can call on to avoid fig­ur­ing out what the hell to do, or feel, otherwise. 

The film is kept in lurch­ing orbit around Laine (a qui­et­ly volatile Mar­i­ja Luīze Meļķe, also cred­it­ed as co-writer), an inscrutable 20-year-old stu­dent whose name trans­lates to small wave”. Not a big wave, she empha­sis­es, a small one. Laine dances, gets high, and indulges her youth with the resigned non­cha­lance of some­one per­pet­u­al­ly aware of their own insignif­i­cance, and yet there’s some­thing sub­lime­ly com­pli­cat­ed about Meļķe’s per­for­mance – at once weird­ly serene, but stretched so taut that we can see the latent, anx­ious feel­ing crawl­ing par­a­sit­i­cal­ly under her skin. The cam­era is often unflat­ter­ing­ly close to Laine’s face, so no mat­ter how crowd­ed the dance­floor is, it always feels like she’s alone. This isn’t real­ly a sto­ry about find­ing com­mu­ni­ty; the peo­ple she meets drift in and out, and moments of inti­ma­cy (like when she makes out with a girl on a rough con­crete pave­ment in stark day­light) feel blunt and frigid, curi­ous­ly drained of release.

A refresh­ing­ly feel-bad watch, Neon Spring seems so opposed to the prin­ci­ples of a com­ing-of-age film that it almost ceas­es to be one. What does it mean to come of age’ when Laine already feels so aged by iso­la­tion and neglect, and her par­ents are equal­ly irre­spon­si­ble and unsta­ble? When escapism is tem­po­rary, and your friends can’t do much, either? Self-dis­cov­ery is the remit of a less dis­il­lu­sioned bunch, it seems. For now, the tech­no music still promis­es to drown out the silence – even for a lit­tle while.

Lit­tle White Lies is com­mit­ted to cham­pi­oning great movies and the tal­ent­ed peo­ple who make them.

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