If you have ever taken an introductory film or a European cinema course, you have probably heard of the movie “Trainspotting” (Boyle, 1996). You may have been shown a clip of Ewan McGregor (who plays the protagonist, Mark Renton) crawling into an utterly disgusting toilet in a Scottish pub and entering some fantastical undersea world. You may have seen a clip of Renton overdosing on heroin and melting into the floor, while the carpet folds itself around him. “Trainspotting” is— for these scenes, and others— extremely hyperrealist. It is a film sporting a solid dose of hyperrealism that typically holds a focus on a gritty topic. In the case of “Trainspotting,” this is extreme drug usage with general political turmoil raging in the background. The movie presents drug usage in a strange and unusual manner, typically through the exaggerated use of mise-en-scene. “Trainspotting” confronts a lot of difficult subject matter and displays it from a more visually imaginative framework.  

The narrative of “Trainspotting” centers around protagonist Renton, a Scottish youth struggling to find purpose within his life. Renton and several of his friends are frequent drug users— proponents of counterculture and products of growing up surrounded by a politically tumultuous and economically diverse environment. Renton experiences several ups and downs with drug usage until he finally overdoses and nearly dies. After sobering up, Renton is tested for HIV, and upon receiving a negative result (and not wanting to push his luck), decides that the only way to truly move forward with his life is to place physical boundaries between himself and his rowdy companions.  

“Trainspotting” refuses to shy away from drug usage and its consequences, preferring to include lots of close-up shots of the preparation processes and aftereffects. Initially, that is what I liked most about it— “Trainspotting” challenges viewers with uncomfortably harsh images, yet simultaneously softens the blow by presenting them through the lens of whimsical mise-en-scene. The hyperrealist element makes the direct impact of its depiction of drug usage all the more powerful, emphasizing the negative associations of said images while experimenting with bizarre formal characteristics. The contrast between the formal and the real is what makes all the difference within “Trainspotting”: if there were no hyperrealism, the themes present throughout would completely overwhelm the plot.  

Simply put, “Trainspotting” is a weird film. Its atypical visual style and commitment to the intense subject matter are what make it consistently relevant to today’s world. But why would I recommend it, aside from the attributes I have already described? Well, it is one of the few films of acclaim to be produced by Scotland’s mildly underdeveloped film industry, inserting representation of contemporary issues in Scotland into the mainstream. Not to mention, “Trainspotting” represents youth culture— in Scotland, specifically, but also elsewhere. It gives the trials and tribulations of young adults growing up in economically stunted areas a voice and validates their trauma. Screening “Trainspotting” is a little bit like a kick in the teeth that you will actually enjoy, and in the end, agree that it was time well spent.