Still one of the most bizarre “pop” groups ever made. They were the definition of “living art”. A sick combination of Gnostic religion, country music, ice cream carts, stage house and a dash of Jesus complex. As icing on the cake they deleted their whole back catalog of music when they went into “retirement”, music that was worth millions of pounds in record revenues. If that was not bizarre enough, they took out a million pounds sterling, nailed all the banknotes on a board and burned everything in front of a camera. Today you can not find their music either on Spotify, iTunes or a record store. Only through file sharing or YouTube can you hear the phenomenon that was … The KLF.
read about The KLF aka The Justified Ancients of Mu Mu here: https://en.wikipedia.org/wiki/The_KLF
spacetime coordinates: 1600>1992 // Elizabethan era // Constantinople
Orlando is a 1992 British film loosely based on Virginia Woolf‘s novel Orlando: A Biography, starring Tilda Swinton as Orlando.
the film was particularly acclaimed for its visual treatment of the settings of Woolf’s 1928 novel. Potter chose to film much of the Constantinople portion of the book in the isolated city of Khiva in Uzbekistan, and made use of the forest of carved columns in the city’s 18th century Djuma Mosque.
Orlando (Tilda Swinton) in the film Orlando Scene 25 Photo by Liam Longman © Adventure Pictures Ltd
the title role in Orlando allowed Swinton to explore matters of gender presentation onscreen which reflected her lifelong interest in androgynous style. Swinton later reflected on the role in an interview accompanied by a striking photoshoot. “People talk about androgyny in all sorts of dull ways,” said Swinton, noting that the recent rerelease of Orlando had her thinking again about its pliancy. She referred to 1920s French artist and playful gender-bender Claude Cahun: “Cahun looked at the limitlessness of an androgynous gesture, which I’ve always been interested in.”
spacetime coordinates: 1300 A.D england
Army of Darkness (also known as Bruce Campbell vs. Army of Darkness and Army of Darkness: The Medieval Dead) is a 1992 American horror comedy film directed and co-written by Sam Raimi, co-produced by Robert Tapert and Bruce Campbell and co-written by Ivan Raimi. It stars Campbell and Embeth Davidtz. It is the third installment in the Evil Dead franchise, and continuing from Evil Dead II, Ash Williams (Campbell) is TRAPPED IN THE MIDDLE AGES and battles the undead in his quest to return to the present.
The original ending, preferred by Raimi and Campbell themselves, is one in which Ash is shown being placed in a cave and given a potion which will put him to sleep for centuries. Echoing his experience in botching the recovery of the Necronomicon, Ash mishandles the specific instructions for the potion, accidentally taking an extra dose. Ash awakes and arises from his cave to find himself in a post-apocalyptic future, in which the city of London is in ruins
In July 2014, Campbell stated it was likely the planned SEQUEL would instead be a TV series with him as the star. The ten-episode season of Ash vs Evil Dead premiered on Starz on October 31, 2015, with the pilot co-written and directed by Sam Raimi. Due to legal issues with Universal, the events from Army of Darkness could not specifically be mentioned in the first season. In addition to Campbell, the series stars Dana DeLorenzo, Ray Santiago, and Lucy Lawless.
spacetime coordinates: Mojave Desert, California 1998
Sam Was Here is a 2016 French-American mystery horror co-produced and directed by Christophe Deroo, making his feature debut, from a screenplay co-written with Clement Tuffreau. The film stars Rusty Joiner and Sigrid La Chapelle.
Night on Earth is a 1991 film written and directed by Jim Jarmusch. It is a collection of five vignettes, taking place during the same night, concerning the temporary bond formed between taxi driver and passenger in five cities. Jarmusch wrote the screenplay in about eight days, and the choice of certain cities was largely based on the actors with whom he wanted to work. The soundtrack of the same name is by Tom Waits.
Полторы комнаты или сентиментальное путешествие на родину
spacetime coordinate: 40’s > 90’s, Saint Petersburg > New York
When asked in an interview whether he ever intended to return to his Motherland, Joseph Brodsky replied: “Such a journey could only take place anonymously…”
The creators of this film imagined that the journey in question was undertaken after all, selecting the genre of an ironic fairytale. The poet sails to the country of his childhood, and with him we traverse not only geographical expanses, but travel through time as well; stringing together a number of facts from the Nobel Prize Laureate’s biography, we return to the USSR of the 50s and early 60s, soaking up the atmosphere of the “European” city of Petersburg, to this day Russia’s cultural center. Along with live-action sequences, the film features animation, as well as documentary footage concerning Brodsky and his milieu.
Some of the animated sequences — of winged horses and flying sleds, of Brodsky as a farm animal on all fours drawing a cart — suggest Chagall. Other, more elegant pictures — of pianos and other musical instruments flying in formation while framed against the heroic architecture of St. Petersburg — are closer to Magritte’s surrealism. Visually, it is an ode to St. Petersburg (its museums, architecture and statuary are lovingly photographed), and to the Neva River, which runs by the city.
With its unabashedly nostalgic glow, the film belongs to what might be called the “rosebud” school (after “Citizen Kane”) of film biographies that locate the essence of a life in childhood memories. Recurrent images in the film are visual representations of the family’s house cat. The youthful Brodsky (Evgeniy Ogandzhanyan) is shown conversing with his father in meows and later subverting the solemnity of a school anthem sung by a chorus by substituting cat cries for words. He later confides to a friend that he wants to be reincarnated as a cat in Venice.