A British soldier is trapped with a German enemy. Then they rediscover their humanity. | Pawns

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Sergey, a hard-boiled man who works in Little Odessa, is on a mission to redeem himself with his boss after botching an assignment. A consummate professional, he wants to fix his mistakes, not just for his reputation but for his own pride.

But things go awry in the middle of his attempt to fix everything, and in the worst place possible: the middle of the desert. When his car breaks down, the only people around who can lend a hand are a group of "bro-y" YouTubers called the DGAF Bros.

Much to the befuddlement of the hitman, the DGAF crew turn the occasion into a video for their channel. As much as the hitman tried to take control of the situation, the YouTubers' obnoxiousness proved to be more formidable an obstacle than Sergey could have imagined -- and ultimately endangers the mission.

Written by Nick Vitale and directed by Peter Mackie, this short possesses a very Tarantino-like mix of action, thriller and comedy, blending sharp and stylish high-stakes action sequences with a particular and goofy YouTube subculture, to humorous effect.

It's almost as if two very different types of genres and sensibilities collide into one film, unified by stylish, sleek camerawork and cinematography. Though the characters and action can be gleefully anarchic and out of control, the craftsmanship is impeccable and precise.

Both genres -- action-thriller and broad comedy -- are big in terms of movement impact, but they're balanced with a smart, engaging script and attendant editing that demonstrates a deft control of structure and pacing and takes advantage of the disparate genres and exploits them for great humor.

In many ways, the two strands of the film explore two different kinds of manhood, one classic and almost old-fashioned and the other with a new contemporary resonance and prominence, thanks to new social and streaming media. There's the strong, silent, hard-boiled and macho stereotype of Sergey, played with a consistent restraint by actor Yorgos Karamihos, and then there's the energetic, goofy Peter Pan-like manchild, embodied by actors Nick Mutuma and Hudson Long. Watching them try to make sense of one another, much less work together, is hilarious -- until the true stakes of the situation are revealed to all, to knuckle-biting effect.

"Sergey's Fortune" is engaging and fun, and though it takes a little time to set up its titular character's dilemma and world, the pacing and plot pick up and then each event drops with the momentum of dominoes falling. Its cultural juxtapositions feel both fresh and classic and beg for a deeper creative exploration that would perfect for a feature-length story. It's escapist, stylish and perfect popcorn entertainment that's smart, subversive and a great cinematic ride.

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A hitman encounters a group of obnoxious YouTubers. And they ruin everything. | Sergey's Fortune
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Warning: Aboriginal and Torres Strait Islander viewers are advised that the following program may contain images and voices of deceased persons.

Miro is used with permission from Victoria Wharfe McIntyre. Learn more at http://omele.to/2XIKlJx.

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World War II is going on, and Australia is conscripting Aboriginal men into service, even though they don't have citizenship or rights in the country. Miro is one of these men, taken from his family and thrown onto the battlefield, where he risks his life at the front lines for a country that treats him as less than human and deprives him of his rights.

But when he returns back home, he discovers his land has been taken from him and his family spirited away from their home, relocated to a dangerous place where his wife and daughter are persecuted and preyed upon. Miro decides to rescue them, taking the bravery he's learned on the battlefield to mete out his own brand of justice.

Writer-director Victoria Wharfe McIntyre's epic short mixes historical drama with the Western genre, making for a supremely stylish, engaging yet eye-opening look at a forgotten chapter and perspective in history. It has a contemporary energy in its movement and stylistic bravura, but a classicism in its epic sweep and power.

The visuals have the look and feel of a feature, with sweeping camerawork and bold, vivid cinematography that evoke everything from the tension of the battlefront to the dusty isolation of the Australian desert. The film is on the longer side for a short, and the scope of the narrative is also unusually wide-ranging, spanning a diverse range of locations and time. As a result, the pacing and events move quickly, keeping the audience on its toes and constantly ratcheting up the tension.

The audience is pulled through a vast historical and cultural tableau, and while there are beautiful images to tantalize the eye and action sequences that compel attention, viewers are also asked to consider the experience of WWII from a point-of-view not often chronicled in the history books.

Though the dramatic treatment is heightened by Western flourishes, Miro's story is based on actual historical precedent and situations. Aboriginal and Torres Strait Island peoples served in both world wars well before they were considered citizens of Australia, and faced enormous prejudice and discrimination despite their sacrifice and heroism -- the same situation Miro faces in the story. Miro can't get justice or respect even though he fought for a government that is mistreating his people and family. So like any Western hero, he decides to take the law into his own hands, in a spectacular ending that is both thrilling in its unfolding and stylishly bold in its execution.

Immersive and gripping, "Miro" takes the traditional war hero story and gives it an Indigenous slant, and then adds a Western kick to the drama. Yet instead of making a lone outsider the engine of the story's action, it puts Miro's domestic and ancestral identity at front and center, making him emotionally relatable as a husband and father out to preserve his culture and protect his loved ones from danger.

In many ways, the epic, even glamorous quality of the filmmaking is its own form of honor and wish fulfillment, for a people who have long suffered and whose struggles have been erased from historical record. The war experiences of Aboriginal and Torres Strait Island soldiers are only just beginning to be recovered and recorded, and while "Miro" isn't a documentary, it still inserts Indigenous presence in the great traditions of cinematic storytelling, with style, audacity and respect.

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A WWII soldier finds his entire life has been stolen. So he takes justice into his own hands. | Miro
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Filmmaker Serena Dykman tells the story of Anna Beijer, a young Czech doctor returning to New York after a humanitarian trip to Uganda.

As she passes through U.S. Immigration, a customs officer pulls her into a room for questioning. She says she's back to start a new job at the children's hospital after working with children at a refugee camp.

The officers are suspicious. Meanwhile, her boyfriend Aaron waits for her arrival outside.

Anna sits patiently, watching as the officers handle each immigrant in a condescending tone.

When her name is called, they grill her in the same manner. She calmly answers each question, unfazed.

With each passing minute, though, Aaron grows increasingly worried. He has bought flowers, hired a driver and an quartet to propose on the day of their 4-year anniversary. But Anna hasn't arrived and isn't picking up her phone.

The officers catch Anna on a technicality -- she started work for an American company in Uganda a few days before her visa took effect.

She explains the company had mistakenly told her that working overseas wouldn't affect her immigration, but the officers are unforgiving.

Even when Anna offers help an old Czech woman, the officers remain cold, following the letter of the law.

Aaron, meanwhile, grows frustrated. The driver and quartet leave, despite his efforts to pay them for their time. With his proposal plans in ruins, he runs into the airport searching for Anna.

Meanwhile, the officers tell Anna she won't be allowed in the country, stating that she had worked and stayed illegally in the past. She pleads her case, saying she's been a resident for eight years, her hospital will sponsor her visa and she's spent $300,000 on education. But the officer refuses to budge -- even when she asks for a lawyer.

He tells she doesn't have any rights at immigration checkpoints and she'll be sent back to the Czech Republic to sort out her immigration issue.

Anna keeps pushing until she's told she won't likely be able to return for five years.

As the devastation sets in, she calls Aaron. But before she can tell him she's being sent back, he asks her to marry him.

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A Czech woman is held at U.S. Immigration, the day her boyfriend plans to propose to her. | Welcome
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Fill Your Heart With French Fries is used with permission from Tamar Glezerman and Silent Dog Pictures. Learn more at http://omele.to/2upBCj8 and http://omele.to/2uZHkFh.

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Filmmaker Tamar Glezerman tells the story of Emma, a woman who gets dumped by her girlfriend at a FryBaby's. She sits at the fast food restaurant all day. Overcome with sadness, she can barely even order a Coke.

When FryBaby's employee Craig takes a photo of Emma and posts it online, it quickly goes viral with the hashtag "dumpedgirl." Meanwhile, employee Samantha feels bad for Emma and brings over some fries. Samantha asks if Emma is homeless and if she's okay. Emma says that she's great before bursting in tears.

Throughout the day, Emma just sits next to the window, looking outside at the passing cars and thinking.

A revolving cast of characters appears. First, an evangelist approaches her. Then, two girls take pictures of her after seeing her online. Next, an acquaintance stops by to talk about her breakup. And later, salesman offers to sponsor her. He sells a product called "Heartbags" that prevents women from falling in love.

With each passing day, the crowds grow larger.

Finally, Samantha asks a police officer if he can do something about Emma. He walks over and sits down, asking if she's in trouble and in need of protection. Emma tells him about the breakup. Part of her is waiting for her ex to come back, but more than that, she can't believe it happened. She's numb.

Officer Williams tells Emma he knows how she feels and they share a moment over fries. Then, he goes back and tells the FryBaby's employees that she's not ready to leave.

The next day, a little boy asks Emma if she's on drugs. She tells him no and that she's not homeless, either. She briefly explains love and fighting and wanting different things. Before the little boy leaves, he hands her some Mentos and suggests she throw them in a Coke bottle to cheer her up.

Emma decides to change in the bathroom. She approaches Craig and asks him to get his camera ready. Then, she throws the Mentos into a Coke bottle, exploding in front of him. As she leaves, she steps in dog poo on the sidewalk. It's going to be a better day.

"Fill Your Heart With French Fries" was inspired by a true story of a Chinese woman who spent a week at a KFC after being dumped by her boyfriend.

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A woman is dumped at a fast food joint and stays an entire week. | Fill Your Heart With French Fries
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John Henry is an old American folk tale hero, a man who can move mountains despite the hard-scrabble world he lives in.

John and his son approach a railroad company in search of honest work. John carries a hammer forged partly from the chains that only recently held him as a slave, and he's determined to earn his living as a free man.

His feats of strength became legendary, turning him into a potent symbol of endurance and dignity for the labor and civil rights movement.

But that came later -- first he has to get the job and prove himself first.

This short allegory is part history, part fantasy -- but above all, it's larger than life and more than lives up to the central character's stature in American folklore.

Director Brandon McCormick's storytelling is bold and audacious, and the production value lives up to the ambition, boasting marvelous period details, broad sweeping camerawork and strong performances.

"John Henry and the Railroad" is a short film of 22 minutes, but it's a grand entertainment -- an unapologetically heartwarming story that inspires spirits and champions the value of "grit, sweat and love."

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The true, tall tale of a freed slave who worked on a railroad. | John Henry and the Railroad
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Hazel is a little girl who is having a hard time making friends. People think she's weird, she says, and her writer father isn't much help, being weird himself. She has a hard time summoning up the courage to be brave enough to approach new people, and she feels very lonely.

But one day she finds a book in a library with a spell that she thinks will help her find a friend. She does the ritual but finds that she's misread the word "fiend," therefore summoning the demon Dantalion. Irate at having an eight-year-old as a master and desiring to free himself from servitude, Dantalion decides to help Hazel in her quest -- and discovers the power of friendship in the process.

Written by Pimvenus Clark and directed by Eleanor Cho, this charming children's fantasy short spins a tale about being brave, having confidence and making friends. Told with steady, graceful patience and respect for the feelings of children, it has clear and steady storytelling and emotional directness that seems simple on the surface but doesn't shy away from the pain of its main character's dilemmas and travails.

This is a film about and for children, and its visual language is accordingly bright and clear, with vivid lighting and colors and deliberate, well-constructed shots that eschew elaborate camera movements, instead engaging the eye with whimsical production design and sets, along with the occasional special effect. Hazel's world is recognizable to ours, but it is portrayed with a patina of childhood enchantment that should both assure viewers and spark their curiosity.

Within this ordinary but heightened world, the demon Dantalion enters in a cloud of dark smoke and flashing light. Surprisingly youthful and snarky, his interactions with Hazel are contentious at first, and the writing and performance find gentle humor not just in his unusual name, but at his disbelief in being summoned by a little girl who is prone to misreading "fiend" for "friend" in gothic font. There's also humor to be found in his blunt, perfunctory attempts to find Hazel a friend, which have the opposite effect of driving people away.

Actor Ian Richards as Dantalion has a terrific connection to Hazel, played with adorable sweetness by Ireland Richards, who. He has the tricky balancing act of playing a drily sarcastic, put-upon demon who doesn't like kids, all still maintaining a rapport with his young co-star. Though he may say mean things at first, there's an underlying respect for the young girl in both actor and character that comes to the fore as a true friendship develops between them. Even as Dantalion helps Hazel believe in herself, summon her courage and approach a new friend, he comes to care for the little girl -- which makes their inevitable parting all the more bittersweet.

With its gleaming brightness and clarity of direction, "Summon a Fiend" could be nestled alongside the classic shows and movies of Disney and Nickelodeon. But instead of leaning on quips and antics to engage its younger viewers, the story has a gentleness of spirit and calm respect for its character and audience. It accomplishes the aim of making seemingly chaotic and scary emotions and situations clear and manageable, as well as reminding its older viewers of the value of kindness, helping others and believing in yourself -- lessons that never grow old, no matter what age we are.

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A lonely girl mistakenly summons a demon who tries to find her a friend. | Summon a Fiend
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Chris is on a high: he just got engaged and has just made the biggest deal of his life. He wants to celebrate it by taking a trip down memory lane and revisits the bar where he made his first deal. But his ebullient mood is dragged down when he notices the other only customer there, Barry.

Barry's in a dark, depressed mood and Chris takes it upon himself to cheer Barry up and help solve his problems. But Barry's problem is a strange one: he has a truly original idea. But whenever he shares it... bad things happen. But Chris doesn't believe Barry and is determined to prove him wrong.

Written and directed by N'cee Van Heerden, this clever, witty horror short takes the notion that there are no new truly original ideas and twists it into a deeply entertaining, compelling storytelling experience. Told with great polish and verve, it takes some time to set up its story. But once it gets going, it unravels its fascinating premise with cheeky self-assurance.

The film begins amiably enough, in the ambiance of a relaxing tiki bar, lit with the slick gleam of the modern Hollywood milieu and dynamic camerawork and movement. As Chris draws Barry out and Barry's story unfolds, the storytelling goes into classic horror territory, but it visually maintains a sense of a heightened, slightly stylized world.

There is gore aplenty -- though nothing is super-graphic -- but this horror story is less about creatures and darkness. Instead, it maintains the energy and playfulness of a comedy in the editing, pacing and performances, with a rhythm and sensibility of a great (but gruesome) yarn.

The storytelling builds up suspense, raising the question of what exactly Barry's idea is and building up Chris's skepticism of Barry's story. As the story jauntily approaches its climax with a cheeky, almost operatic sense of drama, it barrels towards a standoff -- one that ends in the biggest irony of all.

"O.I." is great fun, taking the classic narrative structure of a contagious curse and applying it in unexpected ways. It's also a story that is aware of the film's ultimate irony: for a story about the lack of originality, the idea itself is quite original, or at least very fresh, especially for a genre where its ardent fans love its conventions and rules. Maybe it's not quite mind-blowingly original -- but we might not be able to handle that much genius in the first place.

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A man discovers the horrifying consequence of revealing his original idea. | O.I.
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When infertility threatens mankind with extinction and the last child born has perished, a disillusioned bureaucrat, named Theo Faron (Clive Owen), becomes an unlikely champion in the fight for Earth's survival. He must confront his own demons and protect the planet's last remaining hope from danger.
2006

A nightmarish futuristic fantasy about the controlling power of big corporations and an innocent cop who stumbles on the truth.
1973

For more than 20 years the CIA studied psychic abilities for use in their top-secret spy program. With previously classified details about ESP now finally coming to light, there can be no more secrets.

#CIA #psychics #freemovie

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An alien takes the form of a young widow's husband and makes her drive him across the country. The government tries to stop them.
Director: John Carpenter
Writers: Bruce A. Evans, Raynold Gideon
Stars: Jeff Bridges, Karen Allen, Charles Martin Smith

fragment vertoond in rpj

They watched the movie and created the pandemic out of it.
BTW, at the end of the movie it turns out it’s all about population control. The vaccinated people die.

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In the midst of the Cold War in the 1960s, a cosmonaut named Alexander orbits in space, adrift around the earth in his space capsule. He has lost all navigation and communication systems, and he will soon lose his life-support systems.

Alexander soon discovers an Italian radio frequency where a Sicilian radio engineer named Alvaro is working the night shift. The two men form an intense bond as they work through the night and Alexander reckons with the journey that led to the space capsule in the first place.

But as Alexander drifts away, the newfound friendship between the men may not last the night, and help Alexander find his way home.

Writer-director Andrej Landin takes a meditative, thoughtful tone in his sci-fi short about the mythic "lost cosmonauts" that were a supposed casualty of the so-called "space race" between the U.S. and the Soviet Union to be the first to send a human in space.

The story has the plot points and development of a thriller, with its elements of space travel and potential disaster. But the beautifully considered craftsmanship and pacing are steady, introspective and measured, with an emphasis on emotional resonance. The images have an elegiac power, full of natural beauty, light and texture, emphasizing just how rich life on earth can be.

Alexander's memories of his training -- and a particular love affair with a fellow trainee named Tanya -- suffuse the film throughout via flashbacks, bathed in the golden hues of warmth and contentment. It can be hard for shorts to integrate flashbacks into the storytelling, but these memories form the sociopolitical context of the story, as well as the emotional core of the film -- and give viewers a palpable sense of loss once we realize just what Alexander is losing as he floats in space.

Through the understated dialogue and the equally subtle, resonant performances that bring it to life, Alexander's bond with Alvaro forms his final, last attachment -- one that helps him come to terms with his fate, appreciate the richness of the life he has to leave behind and find meaning in the sacrifice that he made before he left earth.

"Into the Silent Sea" falls into a rich tradition of sci-fi films that use the vacuum of space and the unthinkable breadth of the cosmos as rich metaphors for the human condition, in all its ultimate helplessness and solitude. It takes its time to tell its story and develop its characters, but the result is a moving, emotionally immersive cinematic experience that tells an unusually full and complete story, with an ending that is bittersweet in its wisdom. As Alexander says, "We live as we dream... alone." But we do carry the richness of memories and love within us, providing some comfort in our final journeys.

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A Soviet cosmonaut who is stranded in space discovers a voice in the distance. | Into the Silent Sea
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Pawns is used with permission from David Barbeschi, Tyrees A. Lamptey, Charlie Kelloway and History In the Making. Learn more at http://omele.to/2Eq4dpN, http://omele.to/2CdJd3x and http://omele.to/2H8L3Gv.

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Two chess players are locked in a match in 1973. Their battle on the board reignites the memory of their first meeting during the Great War of 1914, where a young British soldier finds himself sharing an enclosed space with an enemy German soldier.

Both have just experienced the violence and trauma of the battlefield. The situation is unexpected and intense, but gives both of them the opportunity to look past their differences and rediscover their humanity.

"Pawns" is a short historical drama, and though only 13 minutes long, packs an epic scope in its short duration with rich cinematic detail, artistic ambition and engaging storytelling.

But despite the impressive scope and production value, the film captures the intimacy of two people looking across the chasm created by war and politics -- and seeing each other as full human beings.

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A British soldier is trapped with a German enemy. Then they rediscover their humanity. | Pawns
http://youtu.be/fjP9eYCM964
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The Box is used with permission from Dusan Kastelic. Learn more at http://omele.to/2YYGkPA.

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In a strange, dark box lives a group of box-headed elderly humanoid creatures with roots instead of legs. Most of these creatures are sunken into a catatonic sleep, unaware of anything outside their hermetic, sealed-off world.

But one of them emerges from the crowd, stunned into consciousness. Young and growing, the creature starts to cause a joyful ruckus, but struggles against the disapproval and rancor of the rest of his box-dwellers. But then the youngster begins to fight back, looking for a way outside the box but coming against its most oppressive forces yet.

Writer/director/animator Dusan Kastelic's short animation is a surreal yet exuberant allegory about the pleasures and perils of non-conformity, being an individual and pushing through obstacles to a new level of consciousness.

The narrative takes the phrase "outside the box" and spins it into a deeply imaginative, hypnotic narrative that resembles a fairy tale. Not a sanitized children's version of a fairy tale, however: the film instead resembles the original European fairy stories, which were dark, psychologically complex and disquieting in their emotional violence.

The images are nightmarish, with their evocations of distorted flesh and murky colors. But the expressiveness of the creatures and attention to detail -- created in open-source 3-D software Blender -- are remarkable from a technical and emotional level, and draw in viewers with a powerful combination of gesture, sound and storytelling.

Despite the claustrophobic world portrayed in the film, there are splashes of zany humor and joy, particularly as the younger creature expresses its unbridled childlike self. The musical score and sound design by Mateja Staric go a long way to create contrast between stultifying conformity and youthful individualism, as well as keeping the narrative at a consistently engaging pace.

Despite its strange appearance, the uninhibited joyousness and high spirits of the newly emergent creature are so much like the energy of children, and viewers cannot help but relate. Yet "The Box" becomes genuinely sad and painful as the youngster is repeatedly brought down and cut down to size, and confronts the mechanisms of the box itself that keep its inhabitants docile and in the dark.

Watching that struggle becomes a powerful metaphor for the oppression and conformity that we all face, whether it's the box that society puts us inside or the ones we put ourselves in. To watch the creature struggle against a dark, narrow world is hard, and yet, as the creature discovers, as long as you can feel a spark of an essential self, there is always a way towards the light.

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The box is full of miserable creatures -- but one of them doesn't belong there. | The Box
http://youtu.be/gNVqRC4mcSI
http://omeleto.com/250143/

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Exit Strategy is used with permission from Travis Bible. Learn more at http://omele.to/2ydacgG and http://omele.to/2OgiEWq.

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Math genius Shane reunites with his estranged brother over breakfast one morning. He has an unusual request: he knows something bad is going to happen in the future, and he needs his brother's help to prevent a tragedy.

The pair embark on a complex series of events, but must work together despite their history of conflict and resentment. And -- they're also caught in a time loop, which complicates their efforts to prevent the future catastrophe.

Writer-director Travis Bible has crafted an energetic, smart sci-fi thriller that easily pulls an audience in with smart, clever storytelling, rapid-fire dialogue and briskly compelling pacing.

The camerawork and direction is equally confident, adding to the short's sharp, propulsive rhythm. The result is a compelling cinematic experience that is genuinely entertaining without sacrificing intelligence or craft.

Fans of sci-fi will be familiar with the convention of time loops and enjoy this particular riff on the subgenre. But the film also works on the level of a relationship story, with genuine emotional engagement and growth between the two brothers. Though we don't get to spend a lot of time with them, they're able to develop with full arcs as characters, making the ending surprisingly moving.

"Exit Strategy" is being developed into a feature, and with its intricate world and clever thrills, the stories and characters should easily expand into a larger narrative. As a short, it's authentically fun, fast-paced and surprisingly resonant -- in other words, everything people head to the multiplex for.

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A man in a time-loop must work with his brother to prevent a catastrophic fire. | Exit Strategy
http://youtu.be/68f27rqP_NY
http://omeleto.com/247742/

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Avarya is used with permission from Gokalp Gonen. Learn more at http://omele.to/2MmUrNZ.

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An elderly man floats in a spaceship throughout the galaxy, with only a robot for a companion. The ship is arranged just like his favorite room on Earth, even down to the smallest dust particle, according to the robot. But the man is anxious to leave the ship for a bigger life. Together, they travel throughout the galaxy searching for a new habitable planet, since Earth has become uninhabitable.

The robot, however, is sworn to keep humans from coming to harm. Every alternative planet discovered is not good enough for the man to live, according to the robot. But the man is tired of being stuck on the ship, no matter how comfortable it is. Desperate to leave, he rebels against his robot -- only to discover just how seriously the machine takes its charge to protect the man, even from himself.

This visionary short animation -- written, directed and created by Turkish director Gokalp Gonen -- opens with Isaac Asimov's Three Laws of Robotics. Robots must not allow humans to come to harm, must protect their existence, and do not have to follow orders that would conflict with these directives. Asimov's rules have been the springboard for many other sci-fi stories. But rarely have they been explored with such sumptuous sense of visuals or flair for evocative atmospherics that makes for a genuinely mesmerizing cinematic experience.

In a genre where either pristine minimalism or Victorian-influenced steampunk reign as the dominant visual style, the beautifully baroque and ornate art of "Avarya" stands out. The ship's room has a rich, textured look reminiscent of Art Deco, with its books and antique furniture full of decorative flourishes. It could be any well-appointed library anywhere, but for the view of the space and planets outside the room.

But the film's distinctive aesthetic is encapsulated in the singular look and feel of the robot, notable for its peacock-like "crown" or headdress, which flares in and out as it calculates and communicates with its charge. Combined with its cape-like torso, the robot evokes a courtier or seneschal in a foreign imperial court and all the obsequiousness and subterfuge it evokes.

The robot is the other half of what's essentially a two-hander in the storytelling, and emerges as the primary obstacle for the man, who is beset with dreams and visions of the outside world. Though the pacing is meditative, enveloping viewers instead of pulling them along, the film never ceases to enchant the eye and evoke the sense of a darker mystery at work: the true nature of the robot and its mission, which has evolved from its original directive into something more sinister. In doing so, it has created a whole world -- one that becomes almost claustrophobic in its opulence and inhumane in its self-contained isolation.

As a beautiful puzzle-box of a story, "Avarya" is so packed with symbolism and ideas, with a core of enigmatic thought and feeling that requires multiple viewings to fully appreciate. Though its basic narrative through-line is simple enough to grasp when first watched, the storytelling works on a dreamlike, subconscious level -- much like it does for the main character -- with motifs and images that repeat with suggestive potential. And like a dream, the shape-shifting of visions can reassure or inspire us to keep striving for the larger impulses for home or truth. Or, if left unsatisfied, they can eventually turn terrifying in their ability to haunt us.

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A man is trapped on a spaceship after his robot overseer finds every planet uninhabitable. | Avarya
http://youtu.be/S8w5kg1Yync
http://omeleto.com/255125/

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Nullarbor is used with permission from Alister Lockhart, Patrick Sarell and The LampShade Collective. Learn more at http://omele.to/33s4eXw.

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One man drives across the vast and barren landscape of Australia's Nullarbor Plain, which has the longest stretch of straight road in the world.

As the brash young upstart traverses the epic vista, he passes a slower, more laidback motorist and almost gets into an accident. Seeking payback, he goes after the old codger.

But the other motorist proves himself surprisingly intrepid despite his clunky old car and his slow pace. As the younger man tries to outpace him and encounters one obstacle after another, the older man slogs along steadily, adding a new, boisterous twist in this update of the classic "tortoise and hare" tale.

This entertaining and visually striking short animation -- by directors Alister Lockhart and Patrick Sarell, in collaboration with The Lampshade Collective -- is the simplest and most pared-down of stories. Essentially the narrative revolves around a duel between two rivals, with one trying to pull one over the another. Bur rather than pistols or guns, they're dueling with cars, on a road that gives them to ultimate terrain to battle upon.

The writing is equally as stripped-down, but the pacing and editing -- as well a terrific, Western-flavored score -- keep things brisk and compelling despite the lack of dialogue. The storytelling also injects its simplicity with great humor and impeccable, striking 3D craftsmanship -- and also honors the unique landscape of Australia. Both the conflict and humor derive from two vastly different people who function at different tempos with different values sharing the same road. (There's also a few rude bits as well that punctuate the storyline.)

The animation's visual style is earthy and surreal, evoking the colors of the Nullarbor Plain as well as the stretched-out, elongated silhouettes that almost seem to melt underneath the unrelenting desert sun. The characters feel almost like rock figures that have come to life. Yet despite the stylization, the visuals are able to evoke the awe-inspiring desolation of such a long, straight, seemingly endless stretch of road.

But there's a lot of space for anything to happen, and in the end, "Nullarbor" exploits animation's ability to portray anything to create a final scene that's both epic in its destruction yet oddly and beautifully evocative of the Australian spirit itself. The result is a slapstick, ironic and weirdly poignant ending to an anarchic, rambunctious road movie to end all road movies: one where no one wins over the highway itself.

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A man with road rage confronts an elderly driver. Then all hell breaks loose. | Nullarbor
http://youtu.be/nfK79Xblpus
http://omeleto.com/252567/

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I created this video with the YouTube Video Editor (http://www.youtube.com/editor)

Interesting docu/film about all kinds of stuff and it tends to go towards the extreme from time to time but still a very entertaining flick.
It is pretty long but worth a watch as it discusses important issues and gives new insight into issues you might not have heard about.

It also gives you the sources at the end and during the feature.

Three ex-cons buy a luggage shop to tunnel into the bank vault next door. But despite all they can do, the shop prospers...
Director: Lloyd Bacon
Writers: Everett Freeman (screenplay), Edwin Gilbert (screenplay)
Stars: Edward G. Robinson, Jane Wyman, Broderick Crawford
NOTE: Anthony Quinn as Leo Dexter

Two Irish Catholic brothers become vigilantes and wipe out Boston's criminal underworld in the name of God.
Director: Troy Duffy
Writer: Troy Duffy
Stars: Willem Dafoe, Sean Patrick Flanery, Norman Reedus

A cafe worker is violently jolted from her day-to-day existence when offered the startling revelation that this world may be on the brink of destruction, revolution, or both. The UK Actor RIK MAYALL died right after this movie was completed at the age of 56, it turned out to be his last film. The acting isn't the greatest, but the WARNING MESSAGE IN THIS MOVIE IS PRICELESS. Back in 2014, this movie predicts an upcoming PLANdemic/SCAMdemic that will be pushed by the United Nations to usher in a NEW WORLD ORDER Communist Police State with Complete Martial Law, FEMA Prison Camps, and a 90% population kill-off by the Powers That Shouldn't Be.
SERGEANT MAJOR'S TRUTHER INFO
[MeWe] https://mewe.com/join/sergeantmajorstrutherinfo
[Spreely] https://www.spreely.com/page/SergeantMajorsTrutherInfo
[Gab] https://gab.com/Sergeant_Major
[Bitchute] https://www.bitchute.com/channel/sergeant-major/
[Brighteon] https://www.brighteon.com/channels/sergeantmajor
[Lbry] https://lbry.tv/$/invite/@SergeantMajor'sTrutherInfo#21f9aff7cc7c7903e1554b8ca3134badae40e9eb
Rik Mayall Dies aged 56 (Star of The Young Ones)!!! (Tribute Music Video)
https://www.youtube.com/watch?v=VFZ_EGboZ-E
Note: The SERGEANT MAJOR'S TRUTHER INFO group with 33,500 members was deleted by FaceBook/Government on 01/24/20. The SERGEANT MAJOR'S TRUTHER INFO channel with 50,000 subscribers was deleted by YouTube/Government on 02/14/20.
"The 5 rules to AWAKENING: Rule #1 - Everything you were ever taught is a lie by design; Rule #2 - governments lie 100% of the time, they always have, and they always will; Rule #3 - the Illuminati controlled mainstream media is not reality, but rather is lies, disinformation, half-truths, and fake events carried out by gov/media hired crisis actors (aka role players); Rule #4 - Spirituality and Reincarnation are reality, whereas religions are simply government crowd control measures; and Rule #5 - this plane(t) called earth is a flat, motionless plane, it is not a spinning ball hurling through outer space. Furthermore, the 4 Sources of Disinformation that are ALWAYS FAKE: government, mainstream media news, matrix sciences, and religions." -- Sergeant Major

Follows Michael Corleone, now in his 60s, as he seeks to free his family from crime and find a suitable successor to his empire.
Director: Francis Ford Coppola
Writers: Mario Puzo, Francis Ford Coppola
Stars: Al Pacino, Diane Keaton, Andy Garcia

A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free.
Director: F. Gary Gray
Writer: Kurt Wimmer
Stars: Gerard Butler, Jamie Foxx, Leslie Bibb

tangentopolis feat. Rob Roy
=============
(world orders review)
=============
ROB ROY (the Highland Rogue) [1953]
(HOLLYWOOD Adaption)
------------------------------
'he's more than one man your grace... the plowman on the hill is Rob MacGregor... the man who carries the water from the spring is Rob MacGregor... 'the boatman on the loch is Rob MacGregor... and even the wee lad who fetches in the cows, is Rob MacGregor... '
------------------------------
A Scottish man comments:
"A grand wee film though in truth, after Culloden in 1746 the Clansmen and the great ancient families were mercilessly hunted down and hanged, flogged, transported to the colonies and the villages burned out; women, children everything!. Cattle herds were 'requisitioned' and the Highlands were cleared completely!
If ya bore the surname of a rebel you had to hide it, the remnant had to start using surnames like 'Green' & 'White' to avoid a hanging. It was a cataclysm! The Highlands and the way of life there never returned. After the clans were destroyed the oak & scots-pine forests were felled.
Even today most of the Highland territory is one big empty park owned by the Queen with nothing except deer. The very same thing happened to the Irish clans a century before. The lucky one's escaped to France or the Americas - and stories trickled back of Highland Lairds living in attic rooms in French Cities without the respect of even the chamber maids..."
-- Fiach MacHugh
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(mirror) @ Kalvė95: https://www.bitchute.com/video/9eP4oRMKvFrq/
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