A love note to a Dystopian World
Being an independent filmmaker, creative director and photographer Daniel Soares has the perfect background for roping us in his nocturnal fairytale Neon Nights. His work undoubtedly lights a spark of movie magic, the kind of feeling which keeps your eyes glued to the screen and your mind absorbed by the story. After the night falls in New York, the city is transformed into a dystopian world of neon lights and dark figures, somehow very reminiscent of Ridley Scott’s “Blade Runner”. All the subjects are distant and very often silhouette like, doing their own thing, completely unaware of the viewer’s presence. This specific detail adds a subtle voyeur aspect to the series, making us feel as if we’re peeking through a secret key hole, catching a glimpse of something which we probably shouldn’t be witnessing at all.
Along with the storytelling line of Neon Nights, there’s also a touch of poetic stillness which evokes a parallel between Daniel Soares’s work and the widely acknowledged American painter Edward Hopper. The author’s haunting images are acting as a full-fleshed metaphor for the dualism of the big city: a place of action and non-action, vibrant neon lights and deep shadows, hot and cold, blue and red. A true love note to a contemporary dystopian world born in the shelter of the night.