1199 – What Remains of Edith Finch (2017 video game)

Winner of Best Game at the 2018 BAFTA Game Awards, as well as Best Narrative awards at the GDC 2018 Choice Awards, 2018 SXSW Gaming Awards, and The Game Awards 2017, What Remains of Edith Finch is a collection of strange tales about a family in Washington state.

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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.

Created by Giant Sparrow, the team behind the first-person painting game The Unfinished Swan.

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SYSTEM REQUIREMENTS: Requires a 64-bit processor and operating system / OS: Windows Vista SP2 64-bit or later / Processor: Intel i3 2125 3.30 GHz or later / Memory: 2 GB RAM / Graphics: GeForce GTX 750/AMD Radeon 7790 or later / Storage: 5 GB available space

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http://edithfinch.com/   /   steam

1165 – The Abyss (1989)

timespace coordinates: 1988, Deep Core, a privately owned experimental underwater drilling platform near the Cayman Trough

The Abyss is a 1989 American science fiction film written and directed by James Cameron, starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn. When an American submarine sinks in the Caribbean, the U.S. search and recovery team works with an oil platform crew, racing against Soviet vessels to recover the boat. Deep in the ocean, they encounter something unexpected. (wiki)

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1149 – LOVE DEATH + ROBOTS (TV series 2019– )

Love, Death & Robots (stylized as LOVE DEATH + ROBOTS) is an American adult animated anthology web television series on Netflix.  The 18-episode first season was released on March 15, 2019. The series is produced by Joshua Donen, David Fincher, Jennifer Miller, and Tim Miller. Each episode was animated by different crews from a range of countries. The series is a re-imagining of Fincher and Miller’s long in-development reboot of the 1981 animated science fiction film Heavy Metal. 

The cast includes Mary Elizabeth Winstead, Topher Grace, Gary Cole, Samira Wiley and Stefan Kapičić, with Grace and Winstead appearing in live-action roles, rather than animated.

In March 2019, Netflix revealed that it was experimenting with a new approach by including a different order of episodes to different users.  (*four unique episode orders, released to users at random.) (wiki)

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1146 – Baraka (1992)

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)

imdb   /   on YouTube

1094 – Yellow Submarine (1968)

Yellow Submarine (also known as The Beatles: Yellow Submarine) is a 1968 British animated musical Fantasy film inspired by the music of the Beatles, directed by animation producer George Dunning, and produced by United Artists and King Features Syndicate.

The film received widespread acclaim from critics and audiences alike, in contrast to some of the Beatles’ previous film ventures. Pixar co-founder and former chief creative officer John Lasseter has credited the film with bringing more interest in animation as a serious art form. Time commented that it “turned into a smash hit, delighting adolescents and aesthetes alike”. Half a century after its release, it is still regarded as a landmark of animation. (wiki)

imdb   /   rt

Yellow Submarine US Theatrical Trailer

Yellow Submarine – The Design

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1092

Homer used two adjectives to describe aspects of the colour blue: kuaneos, to denote a dark shade of blue merging into black; and glaukos, to describe a sort of ‘blue-grey’, notably used in Athena’s epithet glaukopis, her ‘grey-gleaming eyes’. He describes the sky as big, starry, or of iron or bronze (because of its solid fixity). The tints of a rough sea range from ‘whitish’ (polios) and ‘blue-grey’ (glaukos) to deep blue and almost black (kuaneos, melas). The sea in its calm expanse is said to be ‘pansy-like’ (ioeides), ‘wine-like’ (oinops), or purple (porphureos). But whether sea or sky, it is never just ‘blue’. In fact, within the entirety of Ancient Greek literature you cannot find a single pure blue sea or sky.

Yellow, too, seems strangely absent from the Greek lexicon. The simple word xanthos covers the most various shades of yellow, from the shining blond hair of the gods, to amber, to the reddish blaze of fire. Chloros, since it’s related to chloe (grass), suggests the colour green but can also itself convey a vivid yellow, like honey.

The Ancient Greek experience of colour does not seem to match our own. In a well-known aphorism, Friedrich Nietzsche captures the strangeness of the Greek colour vocabulary:

How differently the Greeks must have viewed their natural world, since their eyes were blind to blue and green, and they would see instead of the former a deeper brown, and yellow instead of the latter (and for instance they also would use the same word for the colour of dark hair, that of the corn-flower, and that of the southern sea; and again, they would employ exactly the same word for the colour of the greenest plants and of the human skin, of honey and of the yellow resins: so that their greatest painters reproduced the world they lived in only in black, white, red, and yellow).
[My translation]

How is this possible? Did the Greeks really see the colours of the world differently from the way we do?    read more:

The Sea Was Never Blue

By Maria Michela Sassi

1046 – About Elly (2009)

timespace coordinates: 2000’s. north of Iran, Caspian Sea

About Elly (Persian: درباره الی‎, translit. Dar bāre-ye Elly) is a 2009 Iranian drama film directed by Asghar Farhadi. It is the fourth film by Farhadi. The film is about middle class relationships in Iran.  One year after its release, it was voted the 4th greatest Iranian movie of all time by the national society of Iranian critics. (wiki)

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