Sci-Fi

Alexander Doulerain & Sergei Koryagin – Ivan The Idiot aka Ivan-Durak (2002)

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Origin of idea

Ivan the Idiot is one of the most popular personas found in Russian folklore. His story serves as the basic fable of “Ivan the Idiot”: Ivan as hero saves a sleeping beauty from the clutches of evil. However, in this rendition, “Ivan the Idiot” is told in a slightly different style than usual; it’s a cybercomic.
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Byron Mabe – Space Thing (1968)

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Visit the ‘Planet of the Rapes’ with Captain Mother and her sultry crew of sadistic lesbians in this campy ‘peek into the year 2069.

A man is in bed reading Sci-Fi mags, and his wife seduces him. He then falls asleep, and the rest is his dream.
He is from an alternate world, and disguises himself as an alien, then boards their ship, to keep them from attacking his planet.
The captain is a woman, who has two lesbian encounters with her crew, and whips one of them for trying to have sex with our hero.
All of the women are anxious to seduce our hero, as the other two men on the ship are not very exciting.
Our hero forces a landing on an asteroid (actually the outskirts of Palmdale, California) and everyone runs around topless and has sex. He then blows up the alien ship in the worst special effects explosion. Read More »

Mike Hodges – The Terminal Man (1974)

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As the result of a head injury, brilliant computer scientist Harry Benson begins to experience violent seizures. In an attempt to control the seizures, Benson undergoes a new surgical procedure in which a microcomputer is inserted into his brain. The procedure is not entirely successful.

Terrence Malick, the director of Badlands, wrote to Hodges expressing how much he loved watching The Terminal Man, saying “Your images make me understand what an image is.” Read More »

Jean-Daniel Pollet – Le maître du temps (English dub) (1970)

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An alien has the ability to travel through time, visiting our planet at different times … Read More »

Various – Swissmade (1968)

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In 1968, the Popular Swiss Bank asked to three directors to give their vision about the future of Switzerland. This is their answer. Read More »

Jean-Luc Godard – Alphaville, une étrange aventure de Lemmy Caution AKA Alphaville, a Strange Adventure of Lemmy Caution (1965)

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Jean-Luc Godard, the unabashed enfant terrible of French cinema, creates a lighthearted, bizarre and atmospheric utopia in Alphaville. Lemmy Caution (Eddie Constantine), an Outland agent, checks into an Alphaville hotel as Ivan Johnson, a reporter from Figaro-Pravda (the first of many unusual alliances). The hotel manager assigns him a room, a Seductress and a bottle of tranquilizers for the evening. A disembodied voice, the synthetic voice of the ubiquitous Alpha 60 supercomputer, announces room availability and incoming telephone calls, and monitors every inhabitant’s behavior. Refusing the services of the ever-obliging Seductress, he briefly struggles with an unknown assailant, but is eventually left alone to study his mission: to locate a missing agent named Henry Dickson (Akim Tamiroff), and the elusive Professor Vonbraun (Howard Vernon), creator of Alpha 60. He arranges a meeting with Natascha Vonbraun (Anna Karina), who knows nothing of her father, and enlists her as his guide through the logically crafted nightmare of Alphaville. Read More »

Konstantin Lopushansky – Pisma myortvogo cheloveka AKA Letters from a Dead Man (1986)

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Letters from a Dead Man is another film that deals with the theme of the nuclear nightmare. It falls into a mini-genre of nuclear holocaust film along with others such as On the Beach (1959), Dr Strangelove or, How I learned to Stop Worrying and Love the Bomb (1964), Fail-Safe (1964), The War Game (1965) et al. But what makes Letters from a Dead Man unique in this case is that the treatment is one that comes from the opposite side of the Iron Curtain. Every single other treatment of the nuclear holocaust theme was made in the West and comes based on the speculation (or at least implication) of what would happen if the bombs falling were coming from the Soviet side; this is one which shows everything from the other perspective. In both cases though, the films are almost identical in their treatment of the subject matter and are certainly agreed upon what an horrific experience the nuclear holocaust would be. Letters perhaps comes without the sentimentalized approach of other contemporary views of the holocaust, as shown in The Day After (1983) and Testament (1983), which related the horrors to the effect on Middle America and the destruction of the family unit. Rather Letters comes closer to the celebrated pseudo-documentary The War Game in its almost unimaginably bleak depiction of the grim reality of a nuclear blast. Even more so it is most surprising to see a pre– i>glasnost film that comes from the heavily state-censored Soviet Union and yet manages to be so outspoken against the arms race and moreover rule by military. Read More »