Scott Stark leads us through a dizzying array of consumerist goods in his stereoscopic mannequin melodrama The Realist. Composed of flickering still images, this entrancing romp conjures retail worlds both familiar and strange, in which chiselled mannequins may in fact be communing with each other amid the overwhelming array of apparel. Whether viewed as consumerist critique or spellbinding, operatic fantasy, The Realist employs a deft binary structure that skews toward the metaphysical.
Ex-Federale agent Machete is recruited by the President of the United States for a mission which would be impossible for any mortal man – he must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet.
In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.
It’s been 20 years since the corporations took over the world’s governments. Their thirst for power and profits led to the Corporate Wars, a fierce global battle that laid waste to society as we know it.
Brilliant student Jeff Chang has the most important interview of his life tomorrow. But today is still his birthday, what starts off as a casual celebration with friends evolves into a night of debauchery that risks to derail his life plan.