Tag: surrealism
119 – Legion (TV series 2017– )
Legion is an American cable television series created for FX by Noah Hawley, based on the Marvel Comics character David Haller / Legion. It is connected to the X-Men film series, the first television series to be so, and is produced by FX Productions in association with Marvel Television. Hawley serves as showrunner on the series.
Dan Stevens stars as Haller, a mutant diagnosed with schizophrenia at a young age. Rachel Keller, Aubrey Plaza, Bill Irwin, Jeremie Harris, Amber Midthunder, Katie Aselton, and Jean Smart also star.
as a director Hawley wanted the series to be highly stylized, describing his vision for it as “a 1964 Terence Stamp movie”. It was not feasible to literally translate Bill Sienkiewicz‘s iconic artwork of the character to the screen, and Hawley wanted the series to have “its own visual aesthetic to it, and part of that is being a story kind of out of time and out of place”. He stated that “the design of a show has to have its own internal logic”, and compared this sensibility to the series Hannibal, which he said was “a great example of something that had this almost fetishistic beauty to everything that you saw, whether it was food or violence.” Hawley elaborated that the design choice of 60s British films came about because “this whole show is not the world, it’s David’s experience of the world. He’s piecing his world together from nostalgia and memory and the world becomes that.”
At New York Comic-Con 2016, Donner said that the series is “far from the X-Men movies, but still lives in that universe. The only way for X-Men to keep moving forward is to be original and to surprise. And this is a surprise. It is very, very different.” Hawley explained that because the series is depicting the title character’s “subjective reality”, it would not have to address any connections to the films straight away, at first “had to stand on its own feet” before exploring those connections more; He did state that “you can’t tell this story without” acknowledging that Legion is the son of Charles Xavier, who appears in the films. (read more – s
0109 – Europa (1991)
spacetime coordinates: 1940’s US-occupied Germany
Europa (known as Zentropa in North America) is a 1991 Danish art drama film directed by Lars von Trier. It is von Trier’s third theatrical feature film and the final film in his Europa trilogy following The Element of Crime (1984) and Epidemic (1987). Europa was influenced by Franz Kafka‘s Amerika, and the title was chosen “as an echo” of that novel.
A young, idealistic American hopes to “show some kindness” to the German people soon after the end of World War II. In US-occupied Germany, he takes on work as a sleeping car conductor for the Zentropa railway network, falls in love with a femme fatale, and becomes embroiled in a pro-Nazi terrorist conspiracy.
Europa employs an experimental style of cinema, combining largely black and white visuals with occasional intrusions of colour having actors interact with rear-projected footage, and layering different images over one another to surreal effect. The voice-over narration uses an unconventional second-person narrative imitative of a hypnotist
The film’s characters, music, dialogue, and plot are self-consciously melodramatic and ironically imitative of film noir conventions.
0048 – Der Untergang (2004)
spacetime coordinate: April – May 1945, Germany / Battle of Berlin / the Führerbunker
Downfall (German: Der Untergang) is a 2004 German-Italian-Austrian historical war drama film depicting the final 12 days of Adolf Hitler‘s rule over Nazi Germany in 1945. It was based on several histories of the period.
The film begins with an excerpt from the documentary Blind Spot: Hitler’s Secretary (2002), featuring the real Traudl Junge expressing her guilt and shame for admiring Hitler in her youth. The film continues showing Hitler (Bruno Ganz) hiring Junge (Alexandra Maria Lara) as his secretary at the Wolf’s Lair in East Prussia in November 1942.
The story resumes on 20 April 1945, the Führer’s birthday, during the Battle of Berlin.
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0033 – Valerie and Her Week of Wonders (1970)
spacetime coordinate: 19th century Slavonice
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
ooo4 – Room and a Half (2009)
(Полторы комнаты или сентиментальное путешествие на родину)
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.
TimeSpace Warps 