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Movie about haunted space station trial#
Apparent in Au hasard Balthazar, Mouchette, Diary of a Country Priest, and of course The Trial of Joan of Arc, this theme engulfs every frame of his penultimate film, The Devil, Probably. Robert Bresson’s condensing of elements to their bare essence to reveal a more poignant, affecting truth means the director is often keen to reach the logical conclusion of life itself: death. It’s an unsettling, uncomfortable experience filled with an evocative, palpable recognition of our temporary physical being.
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As his body deteriorates, leading to the inevitable finale, we see the embodiment of youth in his obsession with a boy named Tadzio. Set in one of the most magical places on Earth depicted as hell, the Venice of this story is experiencing a cholera epidemic while visitor Gustav von Aschenbach (Dirk Bogarde) himself is declining with a heart disease. While Luchino Visconti’s filmography is mostly known for its grandeur and opulence, Death in Venice remains a curious oddity. More a scab-flaying exhibition than a traditional morality play, Death Becomes Her cares less if the characters can look in the mirror than whether anyone else can tell they’re rotten inside and out. They taunt their vain spectators––a rogue’s trio of Meryl Streep’s morally gluttonous seductress, Goldie Hawn’s vindictive femme fatale, and Bruce Willis’ dopey plastic surgeon caught in the middle. Mirrors are inescapable in Robert Zemeckis’ barbarous black comedy about the downsides of living (forever).
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As Cléo travels around Paris seeking solace from uninterested friends and sympathetic strangers, she learns to make peace with herself and gains autonomy over her own body and life-however long it may last. Noted for its use of real-time narrative while its self-absorbed pop-star heroine awaits the results of a biopsy, Varda’s film plays not only with our perceptions of time but the female experience. The film that established Agnès Varda, Cléo from 5 to 7 marks both a prime example of French existentialism and a deconstruction of female objectification. Michael Haneke, who never met a bleak premise he couldn’t imbue with humanity and gallows laughter, excels at exploring this existential mire as he observes a husband trying to care for and continue loving his declining wife. The death of a loved one is a staggering reminder of the concept of mortality when that person is the one to whom you pledged “til death do us part” that reminder becomes more like a sick prank played by the universe. Leading up to the euphoric, hallucinatory finale in which Fosse, vis-à-vis his protagonist, articulates his own death through a shimmery, unforgettable musical number for the ages, this deeply personal Palme d’Or winner is the definitive unconventional biopic. This semi-autobiographical story of a director and choreographer (Roy Scheider) trying to juggle a deluge of addictions and work while succumbing to another heart attack is an ecstatic feat of editing and movement. – Jordan R.Ī decade before he would die at the age of 60 from a heart attack, Bob Fosse directed one of the greatest films about death. is an ambitious articulation of one’s lifelong quest for acceptance––even after all of humanity is extinct. The story of what it means to be human and all the emotions it entails, A.I.
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Artificial Intelligence, first developed in the hands of Stanley Kubrick. Steven Spielberg understood this with grand poignancy in his sci-fi epic A.I. In thinking about mortality, it’s often zooming out to the big picture and mysteries of our galaxy that can induce the most existential of questions. Artificial Intelligence (Steven Spielberg) To celebrate the film’s release, or at least cope with corporeal impermanence, we’ve shared our favorite films that explore mortality.Ī handful of the below selections may comfort you as we collectively march into the sweet embrace of death, others provide a distressing glimpse at our body’s demise, and some explore all that humanity can offer––a feat which poses the question of what one is doing with their time before shuffling off this mortal coil.Ī.I. It may not be tomorrow––as the characters in Amy Seimetz’s vivid, unsettling new feature She Dies Tomorrow believe––but it’s a universal truth for us all.