Born in Egypt and raised in Sydney, Supa-Star Alex Proyas has always seen the world differently. He’s one of those filmmakers who makes you feel his imagination, not just see it. He infuses his work with a mix of philosophy, comic book grit, and sci-fi wonder, then soaks it in rain, mood and shadow.
In advance of his anticipated appearances at Supanova in Adelaide (31 October – 2 November) and Brisbane (7-9 November), we’re taking a look at some of his most unforgettable works, and why he’s one of Australia’s most daring cinematic voices.
The Crow
Based on James O’Barr’s comic, The Crow cemented Proyas as a director with vision that’s both dark and poetic. Brandon Lee’s tragic on-set death gave the film a haunting legacy and made him an eternal icon, but even beyond that, it’s a work of pure style. Gothic skylines, glistening streets, and a story of love and vengeance told in black leather and neon. It’s one of those films where the visuals are the story.
Dark City
Proyas followed up The Crow with a brain-bending noir that made audiences question everything. Dark City is about a man who wakes up accused of murder in a city that never sees daylight, and it only gets weirder from there. Buildings literally move, the stars might not be real, and nothing is what it seems. It became a cult classic, and later influenced movies like The Matrix. It’s Proyas in his purest form: bold, strange, and full of atmosphere.
I, Robot
Then came the leap to Hollywood scale. With I, Robot, Proyas brought his slick, visual flair to a Will Smith blockbuster. Sure, it had explosions and chase scenes, but under the hood, it was still a Proyas film, with questions of humanity, identity, and control hidden inside the popcorn. Proyas made a film that looked incredible and was smarter than most of its peers.
Knowing
Nicolas Cage plays a man decoding a mysterious string of numbers that might predict the end of the world. Despite its pulpy setup, Proyas fills it with existential weight and eerie imagery.
It’s divisive, but deeply Proyas, who made it into something apocalyptic, melancholy, and surprisingly emotional.
Gods of Egypt
Ambitious and not quite what audiences expected, Proyas went all in on mythology and spectacle, crafting a CGI-heavy epic about gods, mortals, and cosmic battles.
There’s something endearingly fearless about it. He wanted to make his own Star Wars, and in its wildness, you can feel that dream.
What’s Next?
Afterwards, Proyas took a step back from studio systems and founded The Heretic Foundation, a Sydney-based studio where he could experiment with new tech and independent projects.
Alex Proyas doesn’t just make movies, he builds entire worlds. His cities breathe. His shadows tell stories. His characters, whether human or machine, are always searching for meaning. He’s said he often feels like an outsider, and that feeling runs through all his work: people lost in systems they don’t understand, trying to find truth in the dark. And through all the setbacks and shifts in Hollywood, Proyas keeps experimenting. He’s passionate about rebuilding the industry through new tools, not to replace creativity, but to free it. His commentary on the subject on social media is enlightening and fascinating.
He’s still dreaming big, still tinkering with light and philosophy and strange machines. And whatever he makes next, one thing’s certain, it’ll look like nobody else’s.
From The Crow to Dark City and beyond, Alex Proyas has carved a career built on bold visuals, emotional depth, and fearless imagination, making him one of Australia’s cinematic heavyweights.
Alex Proyas will appear at Supanova in Adelaide (31 October – 2 November) and Brisbane (7-9 November).
LEAD IMAGE: Dark City and The Crow
