Aachi & Ssipak is a 2006 animated South Korean film directed by Jo Beom-jin and featuring the voices of Ryoo Seung-bum, Im Chang-jung, and Hyun Young.Sometime in the future, mankind has depleted all energy and fuel sources, however they have somehow engineered a way to use human excrement as fuel. To reward production, the government hands out extremely addictive, popsicle-like “Juicybars” to citizens,which in turn also makes them constipated. Aachi and Ssipak are street hoodlums who struggle to survive by trading black market Juicybars. Through a chain of events involving their porn-director acquaintance Jimmy the Freak, they meet a porn star named Beautiful, who gets a pink ring inside her butt which makes her defecations are rewarded by exceptional quantities of Juicybars. For that reason, Beautiful is also wanted by the violent blue mutants known as the Diaper Gang (led by the Diaper King), the police (most notably the cyborg police officer Geko), and others.
Annemarie Minna Renée Schwarzenbach (23 May 1908 – 15 November 1942) was a Swiss writer, journalist, photographer and traveler.
Annemarie Schwarzenbach: Une Suisse rebelle (2000)
Based on unreleased archive material, this first film about Annemarie Schwarzenbach explores the life of woman born within a very rich Swiss family with open inclinations towards the Nazi Order. A writer, a journalist and a reporter photographer, Annemarie stood up against her aristocratic family and she travels around the world to denounce, European fascism as well as the exploitation of American workers. Annemarie Schwarzenbach doubts and disturbs.
Die Reise nach Kafiristan (2001)
In 1939, the author Annemarie Schwarzenbach and the ethnologist Ella Maillart travel together by car to Kabul.
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.
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.”