Before I reflect on an evening spent watching Depeche Mode M in IMAX I need to say it’s great to see great Arthouse films getting made. This was a true Arthouse passion project. If you search what that means Google will tell you “Arthouse films are independent, often experimental, films intended for a niche market rather than a mass audience. They are typically made for aesthetic or artistic reasons, not just commercial profit, and may feature unconventional or symbolic content”.
Of course it was predominantly concert footage, all filmed in Mexico City. The synopsis was “Concert film weaves Depeche Mode’s 2023 Mexico City performances with segments examining music, mortality and Mexican death traditions.” Filmed over three nights in front of 200,000 fans it was a sight to behold.
Depeche Mode formed in 1980 so that 45 years of music that has crossed and touched generations and they still retain a somewhat cult following and thankfully still create and evolve.
My first Depeche Mode Concert was back in 1993 at Crystal Palace and not missed a tour since, the last being this Memento Mori tour featured in the film in 2023 at Twickenham. 30 years apart. I was not going to miss this. Plus my view on this tour was not as good as this footage.
This film was dare I say exceptional, I’m obviously bias but it was. As stated it weaves between concert footage and symbolism. Memento mori is a Latin phrase meaning “remember you must die” and refers to an artistic or symbolic object that serves as a reminder of mortality. The film focuses on Mexico and suggests Mexico has it has a complex yet beautiful relationship with death, most notably celebrated during Día de los Muertos (Day of the Dead), a festival where families honor and celebrate the lives of deceased loved ones rather than mourn them. It’s fits perfectly. Poetry and thoughts from the public are subtitled throughout complimenting beautifully curated imagery and art. The Peppers Ghost technique features prominently with work created by Joshua Ellingson who appears in the film. Pepper’s ghost is an illusion technique in which an image of an object offstage is projected so that it appears to be in front of the audience.
Director Fernando Frías has created a beautifully crafted mix of styles, symbolism and music. The initial opening sequence feels archival with film clips looking older the 101 on VHS but clarity comes, and goes. Retro visuals on old televisions are timeless, it feels old, it feels new, it feels nostalgic, it feels modern. The stage footage is shot up and personal and stylised at times but it does not disappoint, at all. No static cameras or a camera on a single dolly. It feels like the cameramen must have been literally been dodging the band at times, yes I know filming techniques mean this isn’t necessary.
The films setlist
- My Cosmos is Mine
- Wagging Tongue
- It’s No Good
- Everything Counts
- Sister of Night
- Speak to Me
- My Favorite Stranger
- Soul With Me
- Wrong
- A Pain That I’m Used To
- World in My Eyes
- Stripped
- Enjoy the Silence
- Condemnation
- Never Let Me Down Again
- Personal Jesus
- Ghosts Again (plays during the credits)
- In the End (unreleased track, plays during the credits)
If you’re a fan you will want to see this. If you’re a lover of great visuals and this is worth a watch as well. Despite what I’ve said It is not a documentary, it’s a live concert film, and then some.
