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I want to give it 9/10 for some of my reasons, but it wouldn't be right so i give it 10/10. Yes, in some parts map could have better lighting, some areas feel too dark. Some actually look good in dark (start area, dark-blue cpu area and air filtration darkness part while other ones could benefit for better lighting for floor so i could know better where. There could be more secrets, i find just a few similar to those from Q4 like stuff hidden under the stairs or behind boxes. I wish to see buttons that open walls or walls that can be pushed like in classic. I also miss material effect for different surface when they were shoot in Q4 like interferences on the screens, smoke from pipes and electric discharge on machines - i believe it would require additional layer of work on every part of map. I love level design, it's giant, remind be a bit Q2 style.

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This was a fantastic campaign, all the detail and challenges were amazing. I just wish we could have gone a little farther after the ending, but i best understand that to make maps of this detail, requires time. Aside from that the voice acting for the Strogg is a little weird, personally i thin it just doesn't fit them but its only an aesthetic factor, i just wonder if there's going to be more because this is a professional mod for quake. The good - level design, nice pace from the gameplay, good use of difficulty and ai, voice acting, the story. The bad - the game was too much dark on some places, why hide all that level design work, some funny voice acting especially from the commander. Already played it, only recommended! Great work, thats look pretty amazing. The real non-linear gameplay, everything is working awesome, graphics 10 of 10! I cant believe it real, perfect! I was waiting for this mod for a very long time and now when it's released it's great.

Despite the content, julian Rosefeldt is determined to keep from simply wallpapering the speeches with the visuals, paying attention to Blanchetts particulars, surroundings, and the reactions write of her listeners. Manifesto is obviously a talk-heavy movie, and the bleeding together of so many different philosophies threatens to erode the potency of the words all these smart people wrote. The film itself doesnt really have its own statement, rather content to revel in the passion of the manifestos themselves which, again, perhaps works better in installation form. Apparently, cut from the film are the moments in each scenario, synced to the same time stamp, in which Blanchett addresses the audience directly in a monotone voice, with all 12 disparate manifestos suddenly forming a harmony. Thats the kind of goosebumps moment the feature-length adaptation cant capture. Manifesto screened at True/False 2017 and will be released on may. See more: Cate Blanchett, julian Rosefeldt, manifesto, true/False 2017.

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This is intentional, since each character is an archetype. The movie is most amusing (and the most engaging) when the winking presentation of the archetype jibes with the content of the manifestos theyre announcing. Cate the newscaster and Cate the reporter talk about conceptual art with the exact cadence people in such jobs use when talking about the weather. The schoolteacher explains film rules to her pupils with gentle patience. Its arch in a way that feels guaranteed better-suited to the interpersonal vibe of an installation piece than the collective experience of a theatrical film. Each section makes excellent use of a different part of Berlin, where the whole piece was shot, convincingly creating a dozen different settings that could conceivably be in separate universes. The stark digital crispness of the imagery again befits the museum-wall home the work originally inhabited.

All told, 60 manifestos have been collated into 12 scenarios. Translated into a film, manifesto presents these vignettes in a chopped manner, excising around half an hour from the overall experience. A few come out uninterrupted, while most are intercut with others. If in doing so the movie creates its own philosophical throughline, i wasnt able to identify. It maintains the overall theme of playing with the source material by editing similar sentiments together and recontextualizing them through Blanchetts performances, but theres no flow to the way the sequences are edited. Im not even sure why they are cut up, other than perhaps a fear of alienating the audience by sticking in one location for too long. Blanchetts 13 total performances (in one segment, she plays both a newscaster and a reporter on the ground) arent actory showcases in the way we generally think of something being actory in film. She gets a different look (and accent) in each one, and a different mode in which to present herself, but theres a broadness to each role.

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See more: Rat Film, theo anthony, true/False 2017. True/False 2017 review, filmRise; 130 minutes, director: Julian Rosefeldt. Written by, daniel Schindel on March 7, 2017, manifesto starts with a dictionary definition of its title, and pulls off the considerable feat of not being terrible after doing. Still, i feel confident that it works better in its original form as an art installation. The film is more of a clip show, awkwardly cutting together elements once presented in a drastically different manner. In doing so, it obfuscates the power of a manifesto, allegedly what it means to pay tribute. As an installation, management manifesto consists of 13 screens in a space, each one projecting a different 10-minute film.

Cate Blanchett reciting speeches cobbled from different manifestos on a similar theme. On each screen, she portrays a different character. As a (male) hobo, she"s Marx. As a mourner giving a speech at a funeral, she talks about Dada. As a schoolteacher, she instructs her young students with Dogme 95 and Jim Jarmuschs Golden Rules of Filmmaking. As a housewife, bullying her prayer with her family over dinner is Claes Oldenburgs i am for an Art.

Theo anthony approaches this topic not from any one or two traditional angle but from every possible angle, turning it inside-out and observing from outside dimensions. We see dollhouse recreations of crime scenes in an archive of forensic science, and then a larger version of such in a training center for forensic investigators. The line between the humans-eye and rats-eye view rots as you watch. Presiding over all is the unnervingly calm voice of a female narrator, who speaks not as if delivering exposition but like an ai instructor from a thousand years in the future. Even as the audience gets to absorb the past with dispassion, their own present is treated in a similar manner. The social problem of poverty will persist, but the current particulars of that problem will one day be artifacts, to be learned with unemotional diligence by whoever cares to look back.

And then there is the visceral revulsion at that which crawls or creeps. Few documentaries cut to their titles from a jump scare, but. Rat Film is swarmed with filthy vermin. Even the cute pet rats we meet induce unease, seeming less domesticated than inappropriately appropriated. And then there are the rats who live mere days or hours before being fed to snakes. Rat Film stalks between being repellent, riveting, and darkly humorous (you will learn so many ways to kill rats, including with a fishing rod). Its an experimental documentary thats unusually accessible, even if it will turn many a viewers stomach. Ultimately, its most haunting not for its vision of urban decay, but for its wistful positing of an ideal society which is able to erase it contrasted with the stark light of reality. Rat Film screened at True/False 2017 and will be released by cinema guild on September.

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And they perhaps mirror us on more than a owl physical level. One scientist constructed a rat city, which over time exploded in population and then became striated into castes. Adipose alpha rats lived well with masses of females in the upper levels while peasant rats tore each other apart for scraps down below. In Baltimore, in neighborhoods whose economic destines were set in stone by redlining nearly a century ago, people deal with the pests in their own novel ways, in between the basic steps for everyday survival. Rat Film switches between their stories, anecdotes about rat studies, lessons on economic inequality throughout the 20th century, and far stranger things. We get a first-person tour through crude cg video game recreation of Baltimore, and get to see a starry void when the camera clips through the seams of the environment. In the same way, director.

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Written by, daniel Schindel on March 7, 2017, one a horror movie. A social justice statement. Rat Film is one of the most original films of the year, fiction or nonfiction, and it made me feel both as if I had learned a semesters worth of knowledge and bereft of any idea as to how societys problems can be mended. The problem in question is not, as one character says early in the movie, a rat problem. Baltimores never had a rat problem; only a human problem. Rats, biologically similar enough to humans to act as ideal medical research test subjects, live in symbiosis with. Where we fail to effectively organize our living conditions, they thrive.

provázcích, se houpalo o několik centimetrů doleva a zpět doprava, a neidentifikovatelný stín na něm vytvářel iluzi chvilky v přírodě či v parku, iluzi, kterou lze jindy navodit snad jen ve filmu. Po tomto až meditativním momentu následovalo houpání se protagonistů na kruhu, kdy se vánek, jejž houpání vyvolalo, dotkl i diváků, kteří tak mohli pocítit skutečnou přítomnost artistů a skrze to se s nimi ještě více sblížit. Fejka je hravé a poetické představení, které dokáže vytrhnout z denního shonu a upoutat pozornost k momentům, z nichž jsme se už zapomněli radovat. Alexej byček, cirkus Mlejn: Fejka účinkují: Eliška brtnická a josef Toman, režie, choreografie: Ilona jäntti a kol., konzultace: Stéphanie nduhirahe, produkce: Dagmar roubalová, eva sílová, light design: Vlado veleta, psáno z reprízy inscenace. Listopadu 2015 v pražském kd mlejn. Inscenace s využitím vzdušné a párové akrobacie byla vytvořena ve spolupráci s finskou choreografkou ilonou jäntti a vznikla v rámci rezidencí v helsinki city winter Garden, v klubu Mlejn v praze a v divadle na cucky v olomouci. Foto: iva kohoutová, publikováno. True/False 2017 review, cinema guild; 82 minutes, director: Theo anthony.

Tato a mnohé jiné otázky by mohly být položeny po zhlédnutí zmíněných scén. Představení však nabídlo ještě jinou, o mnoho cennější kvalitu: hravost. Hned na začátku se interpreti postavili na čtyři malé koberečky umělé trávy, dělali drobné pohyby a přesuny, až se po sérii akrobatických kousků najednou ocitli na druhé straně sálu. Podobně hravá byla práce na zavěšeném kruhu, odrážejícím ve scénografii malé kouzelnické kroužky, se kterými umělci pracovali v jiné scéně. Oba interpreti zde zachovali, a to i v náročnějších choreografiích a úkonech, dojem lehkosti a nenucenosti. To pomohlo celkovému vyznění, které nebylo zatížené žádným hlubokým příběhem. Dramaturgii totiž tvořily volně poskládané scény, které spojovaly objekty umělých květin a protiklad falše a upřímné jevištní existence v náročných pasážích, zahrnujících pozemní biography a vzdušnou akrobacii.

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Listopadu se v kd mlejn uskutečnila repríza inscenace fejka. Zavedení interpreti tohoto divadla a členové cirkusu Mlejn Eliška brtnická a josef Toman si ke spolupráci přizvali finskou choreografku ilonu jäntti. Na představení byla skutečně znát severská poetika, symbolizovaná i umělými květináči, prodávanými v nejmenovaném švédském řetězci pod názvem této inscenace. Fejka je švédský ekvivalent anglického fake, českého falešný. A kromě umělých materiálů malých trávníků a květin zkoumali interpreti faleš také reflexí artistické a umělecké tvorby. Kouzelnice, která se svými triky jen zřídkakdy uspěla, nasazovala dosti umělý úsměv a strojené pózy, aby zdůraznila kdysi živý šarm svého oboru. Obraz houslistky na koncertě, působícím jako přehrávka základní umělecké školy, anebo roubované rokenrolové číslo, to vše tvořilo podstatnou část dramaturgie, která nutila k zamyšlení: od dětství se v takovýchto london uměních a sportech cvičíme, pramení to ale z naší skutečné touhy, anebo jsou nám všemožné disciplíny vnucovány, jen abychom.

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  1. Recenze alexeje byčka na inscenaci fejka cirkusu Mlejn. Listopadu se v kd mlejn uskutečnila repríza inscenace fejka.

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  6. « All, reviews, see more: Festivals, Fred Rogers, morgan neville, true/. False 2018, wont you be my neighbor? at True false, film Festival. Manifesto starts with a dictionary definition of its title, and pulls off the considerable feat of not being terrible after doing. « All, reviews, rat Film screened at True false 2017 and will be released by cinema guild on September.

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