
The Furious Gods: Making Prometheus
2012

2007
Director
Charles de Lauzirika
Runtime
214 minutes
Average Rating
No ratings yetSynopsis
The definitive 3½-hour documentary about the troubled creation and enduring legacy of the science fiction classic 'Blade Runner', culled from 80 interviews and hours of never-before-seen outtakes and lost footage.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film provides an architectural framework for understanding the queer coding and non-normative identities present in the original production. It focuses on academic discussions of subtext rather than explicit representation.
Gender Representation
The documentary chronicles the evolution of female characters like Rachael, highlighting their central role in the film's existential stakes. It examines how these roles challenged traditional gender hierarchies.
Racial & Ethnic Diversity
Reflecting 1980s casting norms, the subject matter leans toward a Western-centric cast. While it touches on multicultural cyberpunk aesthetics, the focus remains on Eurocentric production history.
Religious & Cultural Diversity
The film excels at exploring postmodernism and the friction between artistic vision and studio capitalism. It analyzes how the original work challenged singular moralities through existential themes.
Disability Representation
There are no significant depictions or discussions regarding visible or invisible disabilities within the documentary content.
Strengths
Areas for Improvement
AI Analysis
Dangerous Days: Making Blade Runner acts as a scholarly retrospective rather than a vehicle for social messaging. It succeeds by dissecting the complex, intersectional themes of the original film's production and its construction of 'otherness.' The documentary's strength lies in its ability to deconstruct traditional tropes and analyze how identity-driven storytelling evolved during a troubled studio era. It provides deep insight into the philosophical stakes of the source material. However, the film is limited by its subject matter, which inherently reflects the Eurocentric and Western-centric casting norms of the 1980s. It functions more as a technical and historical chronicle than a modern exploration of diversity.

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