#no fr this is beyond dystopian

[takaraphoenix]

I am just so, so, so pissed right now.

Two days ago, when I opened Photoshop, it suddenly showed me an error message that the timeout for activating had run out, or whatever, because it was already installed on two computers.

Which makes fuck-no sense. I have actually installed this on... at least four computers, since they tended to die over the years. But never before has it shown me an error message. And there's no reason for it to do so now, since I installed it on this computer well over a year ago, so... why now.

And I can't even do anything about it, since Adobe fucking gatekeeps its support.

If you go to the Adobe website and want to talk to support, you only get the dystopian experience of talking to a chat bot that will tell you that you can only talk to a real human person if you have a subscription.

Bitch, I paid over 600 Euro for this fucking Master Collection, that should have been enough to let me talk to a real person. I should not need to additionally make any subscription, not even the "free trial", to get to talk to actual support.

And that's just the thing. I paid for this shit, I paid ridiculously much money to have these stupid-ass programs on my computer and for no reason whatsoever it's now giving me an error message but despite being a paying customer, I do not get customer service.

The most fucked up thing about it all is that... you can't seem to even buy licenses anymore? There seem to only be subscriptions and... if I only get to use this for a month and then have to pay again the following month, then I did not buy this. Nevermind how fucking overpriced these subscriptions are.

I just want to keep using the Photoshop, InDesign and Illustrator that I already paid for, what the actual, ever-loving fuck.

[tortoise-n33ds-purpose]

Interesting watch order. 👍

I personally prefer this sequence (SPOILERS):

Mad Max - introduces us to Max in a dystopian setting, civilization hasn't completely fallen yet. Max loses his family, gets revenge, still a downer ending.

The Road Warrior - Max has become a scavenger in the Wasteland. He helps out a desperate group trying to escape marauders. Introduces the idea of the films as fireside tales.

Furiosa - Concisely summarizes how the world fell apart. Introduces nuclear skirmish into the mix. We learn more about the Wasteland from Furiosa's POV. Leads straight into Fury Road.

Fury Road - The years in the Wasteland have not been kind to Max. He's gotten more feral, more mad. Max's and Furiosa's paths collide. Pretty much the climax of this watch order. Both characters find redemption. Max recovers his humanity. Furiosa finds a new home. Hopeful ending, but Max wanders off again.

Beyond Thunderdome - Max-centric epilogue. He's a bit more talkative and willing to interact with people (perhaps to avoid going feral again). Aunty Entity feels like a warning of what Furiosa could become if she's not careful. Max still retains his humanity and finds his fatherly instincts kicking in again when he discovers the Lost Tribe. They want to return to the old civilized world, but Max knows there's nothing left of it and (just like with Furiosa) advises them to stay in their own "Green Place". He even seems willing to settle down there to look after them. After their conflict, Aunty chooses to spare Max. Maybe out of newfound respect for his heroic actions to help the children or just to end the cycle of violence that led them all to this mess in the first place ("fighting leads to killing, killing gets to warring, and that was damned near the death of us all"). Maybe she realizes that Max has qualities that are necessary to the restoration of civilization ("Ain't we a pair, Rageddy Man"). Anyway the ending sequence is just beautiful and a great way to end the series.

But that's just my opinion. 😉 I actually watched them out of order the first time (FR, F, RW, MM, BT). 😅

These films are fantastic (and rated R, so don't show them to kids who aren't ready for them), and they also have a lot of depth. I'm glad to have become a fan. 😁👍

Watch order for people who want the best mad max experience:

1 Furiosa

2 Mad Max

3 Road Warrior

4 Fury Road

I basically see Furiosa and Fury Road as a two part story, but I put the original mad max duology in the middle because I think the dystopian setting of the first movie will be accentuated by already knowing what happens to the world, and Road Warrior is imo a great sequel that works as a standalone movie but is even better if you've seen the first one and seen how this world was tearing itself apart with road war before there ever was a nuclear war.

The people are a lot more important to the meaning of these movies than the great destruction, which feels really fresh for me. It fascinates me that the origin of this series was just "I wanna make a movie about car accidents"

But anyway, after furiosa, which slaps, don't @ me, and two old movies that show the real beginning of the story and introduce you to the character of Max, you get Fury Road, one of the best damn movies ever to close out the saga and pick up back where Furiosa left off.

Anyway, everybody should watch Mad Max so they understand the importance of road safety

[mogai-sunflowers]

I’ll give you one (1) badger boi for all of their full names, orientations, backgrounds, roles, powers, family members, relationship status, and blood types /j

🦡

But fr that’s so cool I’d like to know as much as you’re willing to share!

DAKSJLFHASDJKLFASDF i’d love to share some basic info!!! gonna go into more detail below the cut, but the basic gist of the story is that there’s 6 main friends and a few other characters, and they have their irl identities and their ‘flower power’ personas, so they basically lead double lives- at day they just go to school and are normal kids, but (in their world there’s no nighttime, there’s just day and afterday which is like. night without the night idk it’s weird) during the afterday, they use their powers to help queer kids on the streets! it’s in a dystopian world where the government specifically targets queer kids on the streets, and it’s pretty interesting!!

aiviri- this is aiviri! her pronouns are she/fae/fleur, and fae’s a Black autistic femme lesbian! she’s very soft-spoken but strong-willed, and fleur expresses herself through her music and songwriting! she has the power of growing and manipulating flowers and ivy (hence faer name, aiviri, which means ivy in igbo!)

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

juniper- juniper is a nonbinary transfem lesbian, they/xe/she, and they’re also a tomboy! she’s a physically disabled Black anarchist, and loves science, robotics, reading and writing science fiction, and engineering! xe is quite outgoing with friends but shy with others, and has a younger sister named nia!

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

xander/ash- this guy is a genderpunk nonbinary transmasc butch aro lesbian, and his pronouns are he/they! they love the punk subculture, punk rock music, alternative music and culture, and anarchism! he’s the leader of his school’s bsu, and he’s very protective of their friends! he’s a fiercely loyal and wonderful person overall, and his power is reading peoples intentions and reading reality beyond illusions, and he can sense imminent danger! he’s the adoptive older brother of symphoni!

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

evelyn/willow- willow is an ace transfem sapphic who uses she/her pronouns! she’s passionate about the environment, gardening, flowers, forest conservation, fostering indigenous plants and flora, and she also loves mythology! she’s an indigenous Irish traveller and her power is mastership over movement, agility, and deception using her body!

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

harley/meadow- an Irish nonbinary lesbian who uses they/she/he pronouns, harley is autistic and has a special interest in biochemistry! they’re into cyberpunk, ethereal aesthetics, singing, dancing, and have the power of making fictional worlds real and creating illusions with her mind!

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

zohra- a very sweet and loyal autistic femme aroace lesbian! they use they/fey pronouns, and are a wonderful, masterful artist and painter! fey is a writer who has the power of manipulating time, they’re a timekeeper/time master!!!! very very outgoing and giggly with friends but fairly introverted elsewise!

🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻🌻

so yeah :333 there’s more characters but they’re the main 6!!

[chicagoindiecritics]

New Written Review from Mike Crowley on You’ll Probably Agree: 10 Reasons Why ‘Blade Runner 2049’ is better than ‘Blade Runner’

If you haven’t’ seen the movie, see it then read this. No intro, let’s jump right in.

1. K is a replicant

The reveal of K’s genetic code, or lack thereof, flips everything we assume the movie will be on its head. We are learning along with K what it means to exist. Do we as humans, live like replicants? Do we obey a society that treats us like trash but breath anyways out of the fear of death? Where we viewed “Blade Runner” mostly through Deckard’s eyes who didn’t have much of a personality, K’s lack of a character is his entire purpose for existing. For K to emote is to face death.

Where Harrison Ford’s Deckard entire arc was us questioning if he’s human or not (despite what Ridley Scott unequivocally says), there’s nothing much of substance to Officer Deckard. He gets drunk, retires replicants, that’s it. Name one thing that makes Deckard standout? I’ll wait. Ryan Gosling’s Officer K goes from a machine that is dying spiritually on the inside to someone wanting to have a purpose in life. All while maintaining his composure, if perhaps too much poise for the film. Anything with a conscious can feel. Whether or not how it was made is as relevant as where you were born or what skin color you are. The importance is that you’re here.

K doesn’t seek gratitude nor affirmation. He doesn’t suffer from a narcissistic personality. All he wants is not just to be another useless piece of metal.

2. Deckard has depth this time

Being a daddy changes you a lot. Rick isn’t just a slouchy drunk who likes to shoot robots out of legal obligation. He’s a man who’s principles and love for forbidden things cost him his life. What kind of soul did Deckard have in the first film? Who did he care for? Please don’t say, Rachel, we all know why he was attracted to Rachel. Like Winston in 1984, Deckard rejects Big Brother for a life of pain to gain a glimmer of happiness. 

3. It’s horrifyingly relevant

Denis Villeneuve based the imagery in 2049 on a planet that has become degraded with pollution. The buildings are extrapolating enormous amounts of water into the atmosphere, the sea wall at the end of the picture will be our new Mount Rushmore, the orange Vegas is happening now. Denis Villeneuve didn’t predict the earth looking like this, but his production team was still spot on. A picture that transcends its very style, developing a look that will be discussed on its merits separate from the ubiquitous original, is a stunning achievement.

Everything isn’t dystopian because that’s the way it was in the book. It’s what will happen to us in real life, why we’d look for colonies to live on if we had the technology or funding towards NASA to do so. God help us all.

4. The love story questions the essence of relationships

The story between K and Joi further examines the meaning of love, sex, and mortality, with the two being different versions of artificiality. When the default sexed-up version of a naked Joy pops up on the screen, we are emotionally mortified. Some of us may be repulsed to observe a character we care for utilized like a thirsty Godzilla.

The towering ad tries to seduce K tempting him to buy it, rendering everything Joi said to K throughout the picture questionable. Its manipulation solidifies his final decision in life to help another man. We’re not sure if she loved him or said what it thought it wanted him to hear throughout the narrative. Possibly Joi herself didn’t know her intentions. An unusual amount of nuance and uncertainty rests in the love story. Who do we love? Why do we love? Do we love by the heart or the heart of our designers whom we don’t know?

Meanwhile, Deckard was just drunk and horny when he bashed Rachel up against the wall. Sorry, that really was all there was to their passion despite what Wallace says.

5. The movie was an honest commentary about how the world views woman

Here’s a controversial one. A lot of women were disgusted by the way they were depicted in the film. Outwardly watching the movie, I can’t blame them. I’ll let Mr. Villeneuve speak for himself. “I am very sensitive to how I portray women in movies. This is my ninth feature film and six of them have women in the lead role. The first Blade Runner was quite rough on the women, something about the film noir aesthetic. But I tried to bring depth to all the characters. For Joi, the holographic character, you see how she evolves. It’s interesting, I think. What is cinema? Cinema is a mirror on society. Blade Runner is not about tomorrow; it’s about today. And I’m sorry, but the world is not kind on women.”

Villeneuve is right. Women today are still sexualized. Even with the Me Too movement, women are continually seen as sex objects or subservient slaves in a male-dominated society. Villeneuve isn’t interested in painting a rosy picture that Hollywood does for female roles to make the audiences feel comfortable. It’s an honest reflection on who we are. What we see is what we don’t want to see, but that’s part of the honesty of cinema.

6. The score is mesmerizing

Another point in which I may face some contention. Yes, Vangelis’ score is iconic, but it only works for the era it was composed in. Much of its mixture of bleeps, blops, and wind chimes are a product of its time. A lot of emotion is missing from the score other than the opening theme and “Tears In Rain.” Hearing much of the soundtrack while on the road, I sometimes thought I was listening to something from a porno. Take a listen to “Wait For Me” in the soundtrack and tell me otherwise. Hans Zimmer and Benjamin Walfisch’s score is timeless while also paying respect to Vangelis’ synthetic use in the original. It dives into the character’s mind providing a replication of something more human than what Vangelis composed.

7. It thematically ties more directly to “Do Androids Dream of Electric Sheep” than “Blade Runner” does.

“Blade Runner” got the overall gist of Phillip K Dick’s novel. Replicants are scared, trying to find a way to survive as Deckard hunts them down. However, the Andies in the movie almost deserve to die. In their quest for more life, they torture and kill multiple civilians. What did the guy making the eyes do to deserve being frozen to death? What about J.R. Sebastian? He was nothing but pleasant to Roy and Pris. Did Roy eye gauge him when he was done with Tyrell?

Aside from Luv (Sylvia Hoeks), our replicants are fully rounded people. Sapper Morton is a watchful protector who was meant to be a NEXUS 8 combat medic; Joi’s true intentions come into question for herself and us. K’s inner conflict is the central core of the story. All of this revolves around the meaning of existence within a world that has forgotten about you. The introduction of Robo procreation is an evolution of Dick’s ideas, widening his notion of why life exists in the first place.

8. It doesn’t get lost in the scale

Many sequels love scope over characters. Remember “The Matrix”? Remember how they talked about Zion and all these other things we didn’t see? When the sequels brought in Zion, the focus got lost in the spectacle. “The Matrix Reloaded” was a bumbling CGI mess of Agent Smith Clones and cave orgies. “The Matrix Revolutions” was a glorified “Space Invaders” game. Shoot as many sentinels as you can before becoming overwhelmed. Amidst the sequels bumbling chaos, I missed the smaller scale of the Nebuchadnezzar crew.

The story of “2049” could have focused on the replicant uprising with thousands of robots slamming into humans. We could have gone off-world to finally see what all these other colonies we’ve heard about are like. Some have argued that the movie could have borrowed some of its source material from the later novels about replicants creating humans, so on and so forth. All of that sounds incredible in theory. In execution, you would likely get “The Matrix” sequels.

A movie that overreaches in scope, attempting to please fans by showing everything. What we got was an incredibly meaningful story that further explores the themes of the original while building upon its world without going too far. We see what’s beyond L.A. on the dilapidated west coast. The answer is not much. The film aims at minimalism over extravaganza.

9. We’re still talking about it

After being MIA for decades, “Blade Runner 2049” isn’t forgotten. I can’t say the same for “Superman Returns,” “Monsters University,” “The Incredibles 2,” “Live Free or Die Hard,” and “Indiana Jones and The Kingdom of The Crystal Skull.” In fairness, people do talk about Indy 4, but not in a positive fashion. “Blade Runner 2049” returned to the limelight with disastrous box office results yet high accolades, even gaining the Academy’s attention. Ironically it seemed destined to live the life of its predecessor.

“2049” may have tanked because it was a multimillion-dollar art film that respected its audience’s intelligence. Maybe “Blade Runner” was too far gone amongst the public to gain an interest geared almost entirely towards comic books and Disney. I think the trailers after the reveal teaser looked too generic for my own two cents, turning me off from the film for a short while.

Here we are with Honest Trailers in 2020, making a video about a film that came out in 2017. Bloodsoaked orange skies from the headlines mention the atmosphere of this film. Somewhere, about 100 other people are writing their analysis of “Blade Runner 2049” as I type right now. Seven years from now, we’ll be talking about why the world is still like “Blade Runner 2049.” Villeneuve made a timeless sequel to be remembered.

10. It’s better than the first film and one of the best films in the last ten years

Here’s why you’ll probably agree with this one when you put your pitchfork down. Remove your nostalgia goggles. I know it’s hard to do, please, trust me. Look at the points I made above. Think about how ironic the love story is to our lives. The layers of meaning behind K’s existence is lightyears beyond the featureless Rick Deckard. The picture isn’t flawless. Niander Wallace is spectacularly corny in his scenery-chewing grim monologues. Dr. Eldon Tyrell had some ambiguity regarding the morale of his intentions. For that, I’ll give the original the benefit of my doubt. I understand Ryan Gosling was cast to be intentionally deadpan, but it’s okay to emote once. His distant stare in all of his other performances made it difficult for me to discern myself from the actor’s rather dull persona.

With this said, “Blade Runner 2049” understands cinema. Its atmosphere is why we venture into a dark room that takes us to a different place. Denis Villeneuve’s masterful follow up is one of the most orgasmic cinematic experiences I have witnessed in the last ten years that demands a re-screening in 2022 when theatres reopen at an entirely safe capacity. The style doesn’t overshadow its substance, which is far richer in detail than the original without grasping at blatant metaphors. “Blade Runner 2049” is slow cinema at its finest, letting us into the character’s heads, knowing when to be quiet and when to be loud.

Like “The Empire Strikes Back,” not everyone appreciated the movie at first. Time has been incredibly kind to it, though. I wish the Academy recognized “Blade Runner 2049” beyond its technical marvels in 2018. I suppose it wasn’t the type of picture that catches Oscar voter’s eyes. But it has acquired the audience’s to this day. Now, if you could just look up and to the left for me?

from you’ll probably agree website https://ift.tt/3kxHs7O via IFTTT

from WordPress https://ift.tt/3kG03i7 via IFTTT

[aphroditeproject]

(scroll down for English)

21 Ιουνίου / 16:00-18:00 Matzato Kerameikos Atina Kolektifi ΚΑΦΕΜΑΝΤΕΙΑ ΩΣ ΜΕΘΟΔΟΣ ΦΡΟΝΤΙΔΑΣ – Ή ΠΩΣ ΝΑ ΚΑΝΟΥΜΕ ΚΑΙ ΠΑΛΙ ΤΗ ΜΑΓΕΙΑ ΕΠΙΚΑΙΡΗ Εργαστήριο με δήλωση συμμετοχής

21 Ιουνίου / 18:00-20:00 ΚΙΝΗΜΑΤΟΓΡΑΦΟΣ ΛΑΪΣ-ΑΙΘΟΥΣΑ Α Queering σεξουαλικότητα και Ψυχανάλυση Χλόη Κολύρη, Στέλλα Κασδοβασίλη, Δήμητρα Τζανάκη, Ιωάννης Ρήγας, Κώστας Σκαρπίδης, Clara Vlachodimitropoulou Rodriquez, ομάδα Queering Psychoanalysis Συζήτηση

21:00 ΠΡΟΒΟΛΕΣ > ΤΑΙΝΙΟΘΗΚΗ - ΘΕΡΙΝΟΣ ΚΙΝΗΜΑΤΟΓΡΑΦΟΣ ΛΑΪΣ η μαγεία της*  Between the Waves, Tejal Shah, 2012, India, 26’ (no dialogue) TransFormations - Trans* Film Festival Berlin presents: Ascensão e Queda das Bixas, Rodrigo D’Alcântara, 2018, Brasil, 38’  (PT/EN,EL) Swarm of Selenium
, Maude Matton & SJ Rahatoka, 2017, Germany, 23’ (EN/EL) ΔΙΑΛΕΙΜΜΑ 22:45 Les Saignantes, Jean-Pierre Bekolo, 2005, Cameroon, 92’ (FR/EN, EL)

❤️

June 21 / 16:00-18:00 Matzato Kerameikos Atina Kolektifi COFFEE-READING AS A METHOD OF CARE - OR HOW TO MAKE MAGIC RELEVANT AGAIN Participation with subscription

June 21 / 18:00-20:00 LAIS CINEMA – GREEK FILM ARCHIVE-Auditorium A Queering Sexuality and Psychoanalysis Chloe Kolyri, Stella Kasdovassili, Demetra Tzanaki, Ioannis Rigas, Kostas Skarpidis, Clara Vlachodimitropoulou Rodriquez, Queering Psychoanalysis Group Panel discussion

21:00 SCREENIGS > GREEK FILM ARCHIVE - LAIS OPEN AIR CINEMA her* magic Between the Waves, Tejal Shah, 2012, India, 26’ (no dialogue) TransFormations - Trans* Film Festival Berlin presents: Ascensão e Queda das Bixas, Rodrigo D’Alcântara, 2018, Brasil, 38’  (PT/EN,EL) Swarm of Selenium
, Maude Matton & SJ Rahatoka, 2017, Germany, 23’ (EN/EL) BREAK 22:45 Les Saignantes, Jean-Pierre Bekolo, 2005, Cameroon, 92’ (FR/EN, EL) Προβολές / Screenings

Between the Waves, Tejal Shah, 2012, India, 26’ (no dialogue) Το Between the Waves (Ανάμεσα στα Κύματα) είναι ένα ζωντανό και πλούσιο έργο που παρουσιάστηκε για πρώτη φορά στη dOCUMENTA (13) το 2012 ως βίντεο εγκατάσταση με 5 κανάλια. Το βίντεο που παρουσιάζεται εδώ αποτελεί ένα κανάλι από τη μεγαλύτερη εγκατάσταση. Η Shah δημιουργεί αισθησιακά, ποιητικά, ετεροτοπικά τοπία μέσα στα οποία τοποθετεί υποκείμενα που κατοικούνται από προσωπικές/πολιτικές μεταφορές  – ενσαρκώσεις του κουήρ, του eco-sexual, του interspecial, του τεχνολογικού, του πνευματικού και του επιστημονικού. Το έργο της Shah γίνεται πρακτικά και δημόσια πολιτικό μέσα από το θεασιακό/τοποθετημένο πλαίσιο του και τις υποκειμενικές θέσεις της καλλιτέχνιδας. Η παραγωγή και η διάδοση ριζοσπαστικών έργων όπως το Between the Waves αποτελεί πραγματική πρόκληση για τις/τους καλλιτέχνες* στην Ινδία, όπου η ελευθερία του λόγου και της δημιουργικής έκφρασης αντιμετωπίζουν πολύ συχνά σοβαρή λογοκρισία από κρατικούς και μη κρατικούς φορείς. Οι δράσεις αγάπης, αισθησιασμού ή σεξουαλικότητας που επιτελούν τα υποκείμενα της Shah μπορούν να θεωρηθούν ως ισχυρά πολιτικές, καθώς αρθρώνουν το δικαίωμα μιας υποκειμενικότητας πέρα ​​από το δυαδικό φύλο, το οποίο επιβάλλεται μέσω διαφόρων εκφράσεων κοινωνικής και κρατικής καταστολής στις σύγχρονες δημοκρατίες. Between the Waves, Tejal Shah, 2012, India, 26’ (no dialogue) Between the Waves is vivid and lush. This 5-channel video installation was first presented at dOCUMENTA (13) in 2012, presented here consists of one channel from the larger installation. Shah creates sensual, poetic, heterotopic landscapes within which she places subjects that inhabit personal/political metaphors – embodiments of the queer, eco-sexual, interspecial, technological, spiritual and scientific. Shah’s work becomes practically and publicly political through its situated context and her subject positions. The making and dissemination of radical works such as Between the Waves is a real challenge for artists in India where freedom of speech and creative expression all too often face serious censorship from state and non-state actors. Actions of love, sensuality or sexuality being performed by her subjects can be read as assertively political – articulating the right of a subjectivity beyond the scripted gender binary enforced through various expressions of social as well as state repressions in contemporary democracies. (Image: @ Tejal Shah, 2012)

Ascensão e Queda das Bixas, Rodrigo D’Alcântara, 2018, Brazil, 38’ (PT/EN,EL) Το Ascensão e Queda das Bixas (Η άνοδος και η πτώση των Bixas) είναι μια ανεξάρτητη βραζιλιανή παραγωγή που συμπεριλαμβάνει περισσότερους από 30 λατινοαμερικανούς/ες καλλιτέχνες/καλλιτέχνιδες, μεταξύ των οποίων οι Ventura Profana, Rafael Bqueer, Cassie Capeta, Bruna Kury, Lyz Parayzo και Pachaqueer. To εικαστικό βίντεο-μανιφέστο Ascensão e Queda das Bixas είναι επηρεασμένο από τη λογική των οπτικών άλμπουμ και διαδραματίζεται σε ένα δυστοπικό μέλλον, μετά από εποχές κυριαρχίας της ηγεμονικής ετεροσεξουαλικότητας, όπου τα αντιφρονούντα όντα έχουν επιβιώσει. Η δομή της ταινίας σε τρία κεφάλαια ακουλουθεί μια μυθολογική ατμόσφαιρα που συνδυάζει τις αισθητικές του φουτουρισμού, της μεταπορνογραφίας και του νεομπαρόκ. Η ταινία γράφτηκε και σκηνοθετήθηκε  από τον εικαστικό καλλιτέχνη Rodrigo D'Alcântara κατά τη διάρκεια του μεταπτυχιακού προγράμματος  Masters in Visual Arts στην Σχολή Καλών Τεχνών PPGAV/UFRJ. 

Ascensão e Queda das Bixas, Rodrigo D’Alcântara, 2018, Brazil, 38’ (PT/EN,EL) Ascension and Fall of the Bixas (Ascensão e Queda das Bixas) is an independent Βrazilian production that includes more than 30 Latin American artists, including Ventura Profana, Rafael Bqueer, Cassie Capeta, Bruna Kury, Lyz Parayzo and Pachaqueer. The movie is a video-art manifesto influenced by visual albums logic. It happens in a dystopian future, after eras of an endemic heterosexual regime dominium, when the dissident entities surge. The movie is structured by three chapters guided by a mythological atmosphere that crosses futurism, post-porn and neobaroque aesthetics. The film was written, directed and produced by visual artist Rodrigo D'Alcântara during a Masters in Visual Arts at the School of Fine Arts (PPGAV / UFRJ)   (Image: @ Rodrigo D’Alcântara, 2018)

Swarm of Selenium
, Maude Matton & SJ Rahatoka, 2017, Germany, 23’ (EN/EN,EL) Στο σουρεαλιστικό δυστοπικό παρόν, δύο ομάδες φίλων συνυπάρχουν στο κέλυφος ενός εγκαταλελειμμένου εργοστασίου. Καθώς ένα ανησυχητικό μοτίβο αρχίζει να εμφανίζεται από το στόμα τους με τη μορφή θρυμματισμένου γυαλιού, όλα τα άτομα κλονίζονται, αλλά μερικά πλήττονται σκληρότερα από άλλα. 

Swarm of Selenium
, Maude Matton & SJ Rahatoka, 2017, Germany, 23’ (EN/EN,EL) In the surreal dystopian present, two groups of friends cohabit the shells of an abandoned malt factory. As a troubling pattern begins to emerge from their mouths in the form of shattered glass, all are shaken, but some are hit harder than others. (Image: @ Maude Matton & SJ Rahatoka, 2017)

Διάλειμμα 22:45 / Break 22:45

Les Saignantes, Jean-Pierre Bekolo, 2005, Cameroon, 92’ (FR/EN,EL) Στην ακανθώδη πολιτική σάτιρα του Jean-Pierre Bekolo, ένα μολυσματικό υβρίδιο της φρίκης και της επιστημονικής φαντασίας, οι μοιραίες γυναίκες - βρικόλακες αποδυναμώνουν τους υψηλόβαθμους αξιωματούχους του Καμερούν μέσω αρχαίων τελετουργιών του Mevoungou. Αυτή η εκπληκτική, προκλητική, θρασύτατη, διασκεδαστική και τέλεια παρανοϊκή ταινία αναπτύσσει μια πραγματική ποίηση χρησιμοποιώντας κώδικες που μπορούν να αναγνωριστούν από τους πολύ ενθουσιώδεις της εικόνας: τα νεαρά άτομα. Ο Bekolo προβληματίζεται με αυτό που ο ίδιος ονομάζει «πρόβλημα αναπαράστασης στην Αφρική» και δεσμεύεται να το μετασχηματίσει. Να μετασχηματίσει, δηλαδή, τη λανθασμένη αναπαράσταση και παρουσίαση των αφρικανικών πολιτισμών και λαών μέσα από τα διεθνή μέσα ενημέρωσης και από ταινίες/τον κινηματογράφο, που συνεχίζουν να παρουσιάζουν την υπο-ήπειρο αποκλειστικά προσβεβλημένη από τη φτώχεια, τον ιό του AIDS, ρημαγμένη από τους πολέμους, να διαφθείρεται και να καταστρέφεται. O Bekolo επιχειρεί να αλλάξει αυτή την εικόνα θέτοντας υπό συζήτηση τις ρίζες των κυρίαρχων στερεοτύπων.

Les Saignantes, Jean-Pierre Bekolo, 2005, Cameroon, 92’ (FR/EN,EL) In Jean-Pierre Bekolo's barbed political satire, an infectious hybrid of horror and science fiction, vampiric femmes fatales emasculate high-ranking Cameroonian officials through ancient rituals of Mevoungou. This astonishing, provocative, impertinent, fun and perfectly paranoiac film develops a real poetry using codes that can be recognized by the very enthusiasts of imagery: young people. Bekolo is troubled by and committed to transforming what he has called the “image problem in Africa”: The misrepresentation of African cultures and peoples in international media and film, which continue to present the subcontinent as solely poverty-stricken, HIV/AIDS-ridden, war-riddled, corrupt and failing. Bekolo works to alter this image by addressing the roots of dominant stereotypes.  (Image: @ Jean-Pierre Bekolo, 2006)

Οι ταινίες θα προβληθούν με ελληνικούς υπότιτλους. Προλογισμός των ταινιών στα ελληνικά, αγγλικά και στη νοηματική γλώσσα All films with Greek subtitles (original version, spoken language / language(s) of subtitles). Introduction of the films in greek, english and sign language