Abstract

Richard Kelly's Donnie Darko, a tragic and schizophrenic science fiction coming-of-age tale is a perplexing and paradoxical film with multiple interpretations and many aporias of meaning. In this examination, I first compare the two standard phenomenological ways to regard the film: either Donnie exists in a science fiction world or he is schizophrenic. Second, I pose a new and divergent reading of the filmic world: Donnie is a character in a story of artistic mourning. Third, I compare the feature film and the director's cut in terms of world and world view and conclude that the latter reduces the tragic existential hero to a scifi messiah.