A dystopic science-fiction epic, World on a Wire is German wunderkind Rainer Werner Fassbinder’s gloriously cracked, boundlessly inventive take on future paranoia. With dashes of Kubrick, Vonnegut, and Dick, but a flavor entirely his own, Fassbinder tells the noir-spiked tale of reluctant action hero Fred Stiller (Klaus Lowitsch), a cybernetics engineer who uncovers a massive corporate and governmental conspiracy. At risk? Our entire (virtual) reality as we know it. This long unseen three-and-a-half-hour labyrinth is a satiric and surreal look at the weird world of tomorrow from one of cinema’s kinkiest geniuses.
“Stranger than Fiction may refer to:
When you see the films of certain young directors, you get the impression that film history begins for them around 1980. Their films would probably be better if they’d seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much. Actually, it’s when you see too little that you run the risk of being influenced. If you see a lot, you can choose the films you want to be influenced by. Sometimes the choice isn’t conscious, but there are some things in life that are far more powerful than we are, and that affect us profoundly. If I’m influenced by Hitchcock, Rossellini or Renoir without realizing it, so much the better. If I do something sub-Hitchcock, I’m already very happy. Cocteau used to say: “Imitate, and what is personal will eventually come despite yourself.” You can always try.
Hausu cast eating a Hausu cake.
My Boyfriend is Type B is a South Korean romantic comedy film from the year 2005. The basic premise of the film comes from the Japanese blood type theory of personality, which claims that a person’s blood type can determine their personality traits. The heroine is type A (conservative and introverted) while her love interest is type B (passionate and irresponsible). –Wikipedia
As thriller plots have lost their moorings in the real world of causes and effects, something valuable has been lost. When actions become arbitrary, stories lose their power to help us make sense of the world and they become strictly formal patterns.
—Thom Andersen, “Collateral Damage: Los Angeles Continues Playing Itself”
From the NY Times review:
The yelps you’ll hear and possibly emit, though, will be of surprise and delight, not terror. “House,” which turns on a misbegotten, increasingly violent trip taken by seven teenage girls, is not in the least scary, despite its body count and gore. If the hairs on your neck snap to attention, it will be only because of Mr. Obayashi’s flamboyant visual style, his comic flights of fancy and genre manipulations. This might be about a haunted house, but it’s the film that is more truly possessed: in one scene a piano bites off the fingers of a musician tickling its keys; in another a severed head tries to take a bite out of a girl’s rear, snapping at the derrière as if it were an apple. Later a roomful of futons goes on the attack.
View the trailer here.