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Hobo with a Shotgun is a 2011 Canadian action exploitation film, with elements of the black comedy, thriller, and horror genres, directed by Jason Eisener, written by John Davies, from a story by Eisener, and starring Rutger Hauer. It is based on the trailer of the same name in Quentin Tarantino and Robert Rodriguez‘s South by Southwest Grindhouse contest.
Hobo With A Shotgun – Unrated Trailer
Georgica is a 1998 Estonian drama film directed by Sulev Keedus. The film takes its name from Virgil‘s poem of the same name.
The action takes place in post-World War II Estonia. An old man lives alone on a deserted island which the Soviet fighter planes use for nighttime target practicing. A young neglected boy, who has become mute, is banished from the mainland and sent to the island to keep the old man company. Both are haunted by memories, the boy about his mother and the old man about the years before World War I he spent as a missionary in Africa.
Valerie and Her Week of Wonders (Czech: Valerie a týden divů) is a 1970 Czechoslovakian surrealist horror film directed by Jaromil Jireš (1935–2001) and based on the 1945 novel of the same name by Vítězslav Nezval (1900–1958). It is considered part of the Czech New Wave movement.
The 1970 film adaptation of Valerie a týden divů was shot in 1969 starring 13-year-old Jaroslava Schallerová as Valerie, with a supporting cast of Helena Anýžová, Karel Engel, Jan Klusák, Petr Kopriva, among others. It was filmed in the Czech town of Slavonice and surrounding areas. The film portrays the heroine as living in a disorienting dream, cajoled by priests, vampires, men and women alike, and blends elements of fantasy and horror films.
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Promotional trailer advertising the first public screening of a newly discovered print of Jaromil Jire’s legendary erotic horror-fantasy HERE
The X-Men is an American superhero film series based on the superhero team of the same name, who originally appeared in a series of comic books created by Stan Lee and Jack Kirby and published by Marvel Comics.
timeline: http://xmenmovies.wikia.com/wiki/Timeline
spacetime coordinate: 1944, in a German concentration camp in occupied Poland , 1962 during the Cuban Missile Crisis
The story focuses on the relationship between Professor Charles Xavier and Erik Lensherr / Magneto, and the origin of their groups—the X-Men and the Brotherhood of Mutants, respectively, as they deal with the Hellfire Club led by Sebastian Shaw (Kevin Bacon), who is bent on world domination.
spacetime coordinate: 1845 > Vietnam War >70’s Canada (Wolverine’s lumberjack period) > Three Mile Island, 1979
The film is a prequel/spin-off focusing on the violent past of the mutant Wolverine and his relationship with his half-brother Victor Creed. The plot details Wolverine’s childhood as James Howlett (Troye Sivan), his early encounters with Major William Stryker, his time with Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes, and Chris Bradley. and the bonding of Wolverine’s skeleton with the indestructible metal adamantium during the Weapon X program.
Stryker activates Wade, now known as Weapon XI/Deadpool, a “mutant killer” with the powers of multiple mutants.
The film focuses on the mutants Wolverine and Rogue as they are brought into a conflict between two groups that have radically different approaches to bringing about the acceptance of mutant-kind
spacetime coordinate: usa, 2003
inspired by the graphic novel God Loves, Man Kills, pits the X-Men and their enemies, the Brotherhood, against the genocidal Colonel William Stryker . He leads an assault on Professor Xavier’s school to build his own version of Xavier’s mutant-tracking computer Cerebro, in order to destroy every mutant on Earth and to save the human race from them.
The film’s script is loosely based on two X-Men comic book story arcs: “The Dark Phoenix Saga” by writer Chris Claremont and artist John Byrne, and “Gifted” by writer Joss Whedon and artist John Cassaday, with a plot that revolves around a “mutant cure” that causes serious repercussions among mutants and humans, and on the resurrection of Jean Grey.
based on the 1982 limited series Wolverine by Chris Claremont and Frank Miller. In the film, which follows the events of X-Men: The Last Stand, Logan travels to Japan, where he engages an old acquaintance in a struggle that has lasting consequences. Stripped of his healing factor, Wolverine must battle deadly samurai while struggling with guilt.
antihero Deadpool hunts Ajax, the man who nearly destroyed his life while also trying to reunite with his lost love. featuring Angel Dust, Colossus and Negasonic Teenage Warhead
The story, inspired by the 1981 Uncanny X-Men storyline “Days of Future Past” by Chris Claremont and John Byrne, focuses on two time periods, with Wolverine traveling back in time to 1973 to change history and prevent an event that results in doom for both humans and mutants.
spacetime coordinate: ancient Egypt, 1983 Cairo, East Berlin, New York, Communist Poland
The ancient mutant En Sabah Nur awakens in 1983 and plans to wipe out modern civilization and take over the world, leading the X-Men to try to stop him and defeat his team of renegade mutants.
the twelfth installment of the X-Men film series, and the sequel to 2016’s X-Men: Apocalypse.
imdb / rottentomatoes / wiki
It is the tenth installment in the X-Men film series, as well as the third and final Wolverine solo film following X-Men Origins: Wolverine (2009) and The Wolverine (2013). The film, which takes inspiration from “Old Man Logan” by Mark Millar and Steve McNiven, based in an alternate bleak future, follows an aged Wolverine and an extremely ill Professor X defending a young mutant named Laura from the villainous Reavers and Alkali-Transigen led by Donald Pierce and Zander Rice, respectively.
The film takes visual, tonal and thematic inspiration from classic western and noir cinema, with director James Mangold having stated that Logan’s influences included “visual reference points” of cinema, citing Shane (1953), The Cowboys (1972), Paper Moon (1973), The Gauntlet (1977), Little Miss Sunshine (2006), and The Wrestler (2008).
Mangold spoke of cinematography-based framing, while noting that he does not necessarily think about the “comic-book” related sort, instead highlighting the variety of stylistic influences that went into Logan. These influences include film noir framings and classic Hollywood filmmaking styles, as well as the Germanic expressionist filmmaking style of the early part of the last century, which Mangold stated has a commonality with comic-book art. Mangold highlighted “Strong foregrounds, playing things in depth: you have to make an image say more within that one image.” Using the image of Logan at a funeral as an example of his stylistic logic, Mangold concluded by mentioning the aspects within modern filmmaking, primarily everything in close-up format. For Logan, his aim was to set frames that are descriptive, and evocative of comic-book panels and classical filmmaking
On April 29, 2017, James Mangold announced via Twitter that a black-and-white version of the film entitled Logan Noir would have a limited theatrical run in U.S. theaters, an event set to begin on May 16, 2017. Mangold stated that it was shot as a color film, with awareness that it would play well as a black and white film. The film was re-graded and timed shot by shot for the Noir edition. This version of the film is included on the Digital HD release and also included in the DVD and Blu-ray Combo Pack. (wiki)
Embrace of the Serpent is a 2015 internationally co-produced adventure drama film directed by Ciro Guerra and shot in black-and-white.
The film tells two stories thirty years apart, both featuring Karamakate, an Amazonian shaman and last survivor of his tribe. He travels with two scientists, firstly with German Theo von Martius in 1909 and American named Evan in 1940, to look for the rare yakruna, a (fictional) sacred plant.
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.
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