Hades feels a little avant garde, a little grindhouse and a little acid trip. There’s no question as to whether this is an often metaphor-heavy arthouse piece, the only real question is, can Hades suck you into an atypical, almost trance-like experience for 15 minutes?
We see a woman’s life on loop, although most days bring forth something different, it would seem to be a rather predictable existence. But for one woman waiting isn’t just wasting her time, waiting is bringing her one step closer to Hades every single night.
The acting seems impressive enough. There really isn’t much in the way of dialogue here, which alters the way an actor or an actress can perform, but this whole crew establishes themselves as very serious factors in the film all the same. That kind of dedication feels not only fearless, but liberating as well, no doubt.
Director Kevin Kopacka does a stellar job of giving us sequences we’re going to remember, and he does an even better job of creating a strange, revolving feel to the picture due to the filter adjustments and any additional digital tweaks. The acting is strong, and the colors are a trip beyond a trip. But is it too much?
If you’re a fan of the strange, I’d say no. In no way is the film too much. In fact, I’m quite keen to the look, and color schemes of the film. I’m also particularly charmed by brief and downplayed images of terror that surface sporadically through the flick. You’ve got to keep your eyes open at all time with a movie like this, because you’re bound to miss plenty if those peepers aren’t stretched to maximum capacity.
Hades is a shoestringer that gets it right, time and again. There’s a follow up out there, TLMEA, but it hasn’t dropped just. Neither has the third. That’s right, it’s a trilogy!