spacetime coordinates: remote Cumbrian mountain village 1348 >> 1980s New Zealand
The Navigator: A Medieval Odyssey is a 1988 feature film, an official Australian-New Zealand co-production, directed by Vincent Ward.
Ward and his production team based the look of the film on extensive research into the Middle Ages, particularly the mining industry, although this was then rendered imaginatively. The colours of the film are based on medieval art and, in particular, medieval and renaissance artists’ ideas about heaven and hell. The blues in many of the modern-day sequences are based on the inks in the Très Riches Heures du Duc de Berry, while the reds and oranges of the motorway lights and furnace fires evoke images of hell in the works of Hieronymous Bosch, Pieter Bruegel and Matthias Grünewald. Ward later said he had not achieved what he wanted to with the colour of the modern-day scenes due to the film’s short shooting schedule. Ironically, the colour in the medieval scenes, which were turned into black and white, was far better than that in the 20th century scenes. Some of the mining scenes were inspired by engravings from the German mining manual De re metallica, although it dates from two centuries after the time of those scenes. The angel of death seen flying across the moon at one point is based on a medieval engraving in Paris’ Père Lachaise Cemetery.
The story revolves around Roy Tomlin and his biological son, Alton Meyer, escaping from both the government and a cult, after discovering that Alton has special powers.
True Detective is an American anthology crime drama television series created and written by 
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