The Doom Generation

Gregg Araki’s first film that he did not shoot himself—cinematographer Jim Fealy would also lens Araki’s later Splendor (1999)—delivers a vibrant-hued Los Angeles hellscape as experienced by an attractive triad drifting through life, one held-up convenience store at a time. The film’s at-times shocking violence and raw, unfiltered sexual energy are further underscored by a soundtrack jam-packed with songs by Cocteau Twins, The Jesus and Mary Chain, Nine Inch Nails, and other seminal indie and shoegaze artists. A film for a nihilistic generation by one of its most independent voices.