It seems like a suitable frightday night topic — the film impressively conveys the role of raw terror in producing these images. ‘Perinatal trauma’ according to one voice, although that attains very limited purchase on Giger’s ‘biomechanoid’ obsessions. While biography and psychology are dubious guides into cultural products, the account of the young Giger’s horrified fascination with a museum mummy is highly engaging.
All my problems with Giger come from the surrealism — an aesthetic posture to be rigorously damned as facile. If that level of his work is considered a mere vehicle for more profound (or abstract) inclinations, much remains to explore. The movie explicitly describes his work as a gateway into the dark (nigredo), docked to hermetic traditions. Giger’s techno-prosthetically mummified Egyptian princess manifestly draws him into the crypt of transcendental time.
It’s utter degeneracy, of course — but I’m loathe to say that as if it’s a bad thing.