The Gleaners and I (French: Les glaneurs et la glaneuse; “The gleaners and the female gleaner”, a reference to the director herself) is a 2000 French documentary film by Agnès Varda that features various kinds of gleaning. It was entered into competition at the 2000 Cannes Film Festival (“Official Selection 2000”), and later went on to win awards around the world. In a 2014 Sight and Sound poll, film critics voted The Gleaners and I the eighth best documentary film of all time. In 2016, the film appeared at No. 99 on BBC’s list of the 100 greatest films of the 21st century. / Cinematic significance (wiki)
As Edith, you’ll explore the colossal Finch house, searching for stories as she explores her family history and tries to figure out why she’s the last one in her family left alive. Each story you find lets you experience the life of a new family member on the day of their death, with stories ranging from the distant past to the present day.
The gameplay and tone of the stories are as varied as the Finches themselves. The only constants are that each is played from a first-person perspective and that each story ends with that family member’s death.
Ultimately, it’s a game about what it feels like to be humbled and astonished by the vast and unknowable world around us.
Miracle Mile is a 1988 American apocalyptic thriller film written and directed by Steve De Jarnatt, and starring Anthony Edwards and Mare Winningham. The film takes place mostly in real time. It is named after the Miracle Mile neighborhood of Los Angeles, where most of the action takes place. (wiki)
(trivia) The real life Johnie’s Coffee Shop, actually located on the Miracle Mile neighborhood of Los Angeles, ceased functioning as a real restaurant in the late 1990s. However, the building was never demolished, continued to be used from many other films and was designated a historical landmark in 2013. It is now rented primarily for film and television productions as well as for pop-up shops and similar temporary functions. The building again gained notoriety in 2016 as a campaign headquarter for US presidential candiante Bernie Sanders.
Samsara is a 2011 American non-narrative documentary film of international imagery directed by Ron Fricke and produced by Mark Magidson. Samsara was filmed over a period of five years in 25 different countries around the world.
The official website describes the film, “Expanding on the themes they developed in Baraka (1992) and Chronos (1985), Samsara explores the wonders of our world from the mundane to the miraculous, looking into the unfathomable reaches of humanity’s spirituality and the human experience. Neither a traditional documentary nor a travelogue, Samsara takes the form of a nonverbal, guided meditation.” (wiki)
Baraka is a 1992 non-narrative documentary film directed by Ron Fricke. The film is often compared to Koyaanisqatsi, the first of the Qatsi films by Godfrey Reggio for which Fricke served as the cinematographer. It is also the most recent film to be photographed in the 70mm Todd-AO format, and the first film ever to be restored and scanned at 8K resolution. (wiki)
Named after a Sufi word that translates roughly as “breath of life” or “blessing,” Baraka is Ron Fricke‘s impressive follow-up to Godfrey Reggio‘s non-verbal documentary film Koyaanisqatsi. Fricke was cinematographer and collaborator on Reggio’s film, and for Baraka he struck out on his own to polish and expand the photographic techniques used on Koyaanisqatsi. The result is a tour-de-force in 70mm: a cinematic “guided meditation” (Fricke’s own description) shot in 24 countries on six continents over a 14-month period that unites religious ritual, the phenomena of nature, and man’s own destructive powers into a web of moving images. Fricke’s camera ranges, in meditative slow motion or bewildering time-lapse, over the Church of the Holy Sepulcher in Jerusalem, the Ryoan-Ji temple in Kyoto, Lake Natron in Tanzania, burning oil fields in Kuwait, the smoldering precipice of an active volcano, a busy subway terminal, tribal celebrations of the Maasai in Kenya, chanting monks in the Dip Tse Chok Ling monastery…and on and on, through locales across the globe. To execute the film’s time-lapse sequences, Fricke had a special camera built that combined time-lapse photography with perfectly controlled movements of the camera. In one evening sequence a desert sky turns black, and the stars roll by, as the camera moves slowly forward under the trees. The feeling is like that of viewing the universe through a powerful telescope: that we are indeed on a tiny orb hurtling through a star-filled void. The film is complemented by the hybrid world-music of Michael Stearns. ~ Anthony Reed, Rovi (rottentomatoes)
Spartakus and the Sun Beneath the Sea (French: Les Mondes Engloutis, “The Engulfed Worlds”) is a French animated series created by Nina Wolmark. The series consists of 52 episodes, each between 20 and 25 minutes in length, divided into two 26-episode seasons.
The lost city of Arkadia (named for Arcadia) resembles a small Alderson Disk, and is home to an ancient civilization which escaped a Great Cataclysm in the ancient past by relocating deep within the Earth’s crust. Unaware that life continued on the Earth’s surface, and hoping to keep their people safe, the elders sealed all records of their past in the city’s Archives.
Arkadia survives by the light of an artificial sun, the Tehra (Shagma), which is dying. A group of young Arkadian kids and teens defy the law and enter the Archives. With information about the world above, they create a messenger, Arkana, and send her above to find help.
Arkana encounters two children from the surface, Matt and his sister Rebecca, and brings them back through the underground strata (which seem more like separate worlds or dimensions, with one strata even being the distant future) to save Arkadia. They travel in a living turtle type spaceship called Tehrig, along with Spartakus (a mysterious wanderer) and Bic and Bac (a pair of pangolin-like creatures), Arkadia’s mascots. (wiki)
“and you,” she went on, addressing me, “have received more than others, see that you also give more!”
The Chymical Wedding of Christian Rosenkreutz (German: Chymische Hochzeit Christiani Rosencreutz anno 1459) is a German book edited in 1616 in Strasbourg. Its anonymous authorship is attributed to Johann Valentin Andreae. The Chymical Wedding is often described as the third of the original manifestos of the mysterious “Fraternity of the Rose Cross” (Rosicrucians), although it is markedly different from the Fama Fraternitatis and Confessio Fraternitatis in style and in subject matter.
It is an allegoric romance (story) divided into Seven Days, or Seven Journeys, like Genesis, and recounts how Christian Rosenkreuz was invited to go to a wonderful castle full of miracles, in order to assist the Chymical Wedding of the king and the queen, that is, the husband and the bride.
This manifesto has been a source of inspiration for poets, alchemists (the word “chymical” is an old form of “chemical” and refers to alchemy—for which the ‘Sacred Marriage’ was the goal) and dreamers, through the force of its initiation ritual with processions of tests, purifications, death, resurrection, and ascension and also by its symbolism found since the beginning with the invitation to Rosenkreutz to assist this Royal Wedding. (read more: wiki)