"All those moments will be lost in time...like, tears, in rain..."

Everybody, quick! Burn all your trash, take up Chinese, start studying robotics, and invest all your money in hover-car technology, because Blade Runner takes place in 2019, and we're only seven years away.

Ridley Scott's Blade Runner is one of my absolute favorite films. It's a brilliant exploration of basic human inquiry (What is my role in life? How long do I have to live? Does my existence justify my being?), shown through the lives of beings both human and synthetic. It depicts a biomass settled at the bottom a mythical metropolis; a community whose only light is neon, whose existence is as negligible as rain.

I can't think of many fictional cities in film that come to life quite like Blade Runner's future L.A. As the film progresses, we fall into the city's rhythm - pick up on its patterns, its aura. Mobs of people migrate from one bus stop to the next, while blimps fly overhead, advertising off-world colonization. Monolithic superstructures tower over the public, supporting Coke ads that ask us to "Enjoy". We look up, and a smiling geisha pops yet another pill. We may question how we got here, but never have to ask where we are.

"I'll shoot you all for your anti-fascist laughter:" Young Fritz

Submitted for your approval, a completely disgusting, but darkly and perversely funny, piece of Soviet WWII propaganda. Thought to be a lost film, Young Fritz tells the bizarre story of what happens when a baby joins the Nazis. It's just as hilarious and frightening as you'd think a film with a description like that would be. 

So first off, there's this guy. Everyone knows him. He's a racist. Like Hitler, he professes the superiority of the Arian race, but is not actually a member of it himself. Another level to the absurdity comes when the doctor tells the audience that he can always tell a member of the Nazi party by tapping on their skulls. "They ring!" he says, beating on the skulls with a hammer, a hollow "ting" sound emitting from them. The staging of this sequence sets the precedent for the rest of the film. With the stark, black backgrounds it retains the look of a stage play, or perhaps a surreal, horrifying lecture from hell.