Vacancy (Nimród Antal, 2007).

american psycho (mary harron, 2000)

Night Terrors Are Not EVIL Enough. "While We Sleep" reviewed! (VMI Releasing/ DVD)

Night Terrors Are Not EVIL Enough. “While We Sleep” reviewed! (VMI Releasing/ DVD)

“While We Sleep” available on DVD home video at Amazon.com! Neurologist Nina Evanko is perplexed by the unusual CAT scans of 13-year-old Cora whose been suffering from sudden onset sleepwalking after her birthday party.  Believing the CAT scan is going through calibration issue with imaging process, Nina orders another set of scans, but when the scans produce the same result and a death of…

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Reservoir Dogs (1992)

Director: Quentin Tarantino

Cinematographer: Andrzej Sekula

“Give her the shot!”

Pulp Fiction (1994)

Dir: Quentin Tarantino

Cinematography: Andrzej Sekula

Starring: John Travolta and Samuel L. Jackson

in 2023 I watched some movies

I was gonna catch up on all those best picture nominees from the last 5 years, but watched crap like Caligula 2 instead

The 1989 World Tour - Live (2015, dir. Jonas Åkerlund) Glass Onion: A Knives Out Mystery (2022, dir. Rian Johnson) Flight 666 (2008, dir. Scot McFayden and Sam Dunn) Dracula (1931, dir. Todd Browning) Moonraker (1979, dir. Lewis Gilbert) The Pez Outlaw (2022, dir. Bryan Storkel and Amy Bandlien Storkel) Encino Man (1992, dir. Les Mayfield) Star Trek: Insurrection (1998, dir. Jonathan Frakes) Once Upon a Time in… Hollywood (2019, dir. Quentin Tarantino) Cleopatra (1963, dir. Joseph L. Mankiewicz) The Alligator People (1959, dir. Roy Del Ruth) The Silence of the Lambs (1991, dir. Thomas Demme) Godzilla vs. Megalon (“ゴジラ対メガロ” 1973, dir. Jun Fukuda) Invasion of Astro-Monster (“怪獣大戦争” 1965, dir. Ishirō Honda) Breaking a Monster (2015, dir. Luke Meyer) Terror at Orgy Castle (1971, dir. Zoltan G. Spencer) Wake in Fright ("Outback" 1971, dir. Ted Kotcheff) m.A.A.d. (2014, dir. Khalil Joseph) Reservoir Dogs (1992, dir. Quentin Tarantino) Kung Pow! Enter the Fist (2002, dir. Steve Oedekerk) House (1977, dir. Nobuhiko Obayashi) Raiders of the Lost Ark (1981, dir. Steven Spielberg) Dunkirk (2017, dir. Christopher Nolan) Final Destination (2000, dir. James Wong) Glitch: The Rise & Fall of HQ Trivia (2023, dir. Salima Koroma) Basic Instinct (1992, dir. Paul Verhoeven) Pee Wee’s Big Adventure (1985, dir. Tim Burton) Caligula 2: The Untold Story (“Caligola: La storia mai raccontata” 1982, dir. Joe D’Amato) La noche del terror ciego (1972, dir. Amando de Ossorio) Rocky IV (1985, dir. Sylvester Stallone) Saw IV (2007, dir. Darren Lynn Bousman) House of Wax (1953, dir. Andre DeToth) Thir13en Ghosts (2001, dir. Steve Beck) Kashchey the Immortal (“Кащей Бессмертный” 1944, dir. Aleksandr Rou) Ghost Ship (2002, dir. Steve Beck) The Blood on Satan’s Claw (1971, dir. Piers Haggard) The Face of Fu Manchu (1965, dir. Don Sharp) The Brides of Fu Manchu (1966, dir. Don Sharp) The Vengeance of Fu Manchu (1967, dir. Jeremy Summers) The Blood of Fu Manchu (1968, dir. Jesús Franco) April Fool's Day (1986, dir. Fred Walton) It's Pat 1994, dir. Adam Bernstein) The Castle of Fu Manchu (1969, dir. Jesús Franco) Adam and Eve Meet the Cannibals ("Adam ed Eve, la prima storia d'amore" 1983, dir. Enzo Doria & Luigi Rosso) The Mountain of the Cannibal God (“La montagna del dio cannibale” 1978, dir. Sergio Martino) When Harry Met Sally… (1989, dir. Rob Reiner) Beetlejuice (1988, dir. Tim Burton) Lord of the Rings: Fellowship of the Ring (2001, dir. Peter Jackson, Long as Shit Version) The Hobbit (1977, dir. Arthur Rankin Jr. & Jules Bass) The Cabinet of Dr. Caligari (1920, dir. Robert Wiene) The Wicker Man (1973, dir. Robin Hardy) The Texas Chain Saw Massacre (1974, dir. Tobe Hooper) House of 1000 Corpses (2003, dir. Rob Zombie) Chopping Mall (1986, dir. Jim Wynorski) Basket Case (1982, dir. Frank Henenlotter) Cube (1997, dir. Vincenzo Natali) Cube 2: Hypercube (2002, dir. Andrzej Sekula) Practical Magic (1998, dir. Griffin Dunne) Tropic Thunder (2008, dir. Ben Stiller) Star Wars: The Force Awakens (2015, dir. J.J. Abrams) Star Wars: The Last Jedi (2017, dir. Rian Johnson) Star Wars: The Rise of Skywalker (2019, dir. J.J. Abrams) Eyes Wide Shut (1999, dir. Stanley Kubrick) Superbad (2007, dir. Greg Mottola) Bruce Almighty (2003, dir. Tom Shadyac) House of Flying Daggers (“十面埋伏” 2004, dir. Zhang Yimou) Saltburn (2023, dir. Emerald Fennell) Grandma’s Boy (2006, dir. Nicholaus Goossen) Five Nights at Freddy's (2023, dir. Emma Tammi) Caligula and Messalina (“Caligula et Messaline” 1981, dir. Bruno Mattei) The Wizard of Oz (1939, dir. Victor Fleming, King Vidor, George Cukor, and Norman Taurog) A Christmas Prince (2017, dir. Alex Zamm) A Christmas Prince: The Royal Wedding (2018, dir. John Schulz) The Knight Before Christmas (2019, dir. Monika Mitchell) Goldfinger (1964, dir. Guy Hamilton) Total Recall (1990, dir. Paul Verhoeven)

Uma Thurman and John Travolta in Pulp Fiction (Quentin Tarantino, 1994) Cast: Tim Roth, Amanda Plummer, John Travolta, Samuel L. Jackson, Bruce Willis, Ving Rhames, Uma Thurman, Christopher Walken, Maria de Medeiros, Harvey Keitel, Whaley, Rosanna Arquette, Eric Stoltz. Screenplay: Quentin Tarantino, Roger Avary. Cinematography: Andrzej Sekula. Production design: David Wasco. Film editing: Sally Menke. Watching Pulp Fiction again -- I don't know how many times I've seen it but it feels like a lot -- I'm struck by how much the film is about language. In a way that's appropriate, given that it was nominated for seven Oscars but won only for the screenplay by Tarantino and Roger Avary. And certainly language comes to the fore in the way the film tramples on taboos like the f-word and the n-word, which are repeated so often that you're numbed to the expected shock. And then there's the great biblical tirade by Jules (Samuel L. Jackson), extrapolated from a passage in Ezekiel and repeated three times to make sure we get the point that Jules is some kind of prophet. And of course there's the familiar pronouncement by Vincent (John Travolta) that the French call a quarter-pounder with cheese a Royale with cheese. But throughout the film characters encounter semantic problems, as when Jules asks Brett (Frank Whaley) what country he's from. The puzzled Brett asks, "What?" thereby provoking Jules's response, "'What' ain't no country I've ever heard of. They speak English in What?" Or when Esmeralda (Angela Jones) asks Butch (Bruce Willis) what his name means, and Butch replies, "I'm American, honey. Our names don't mean shit." Or when Pumpkin (Tim Roth) calls out, "Garçon! Coffee!" and the waitress (Laura Lovelace) corrects him: "'Garçon' means boy." Pumpkin and Honey Bunny (Amanda Plummer) have even decided to give up robbing liquor stores because they're owned by "too many foreigners [who] don't speak fucking English."  For Pulp Fiction's characters language is a means of establishing dominance, as when Winston Wolfe (Harvey Keitel) refuses Vincent's request to say "please" when he's giving orders. It's also a way of establishing intimacy: When Vincent brings Mia (Uma Thurman) home after she has overdosed, she finally tells him the silly joke -- a pun on catch up/ketchup -- that she refused to tell him earlier. So maybe Pulp Fiction isn't exactly about language -- it's also about violence and God and a lot of other things -- but I don't know of many other films that are so memorable because of it.

Pulp Fiction (1994) dir. Quentin Tarantino

Cinematography. Andrzej Sekula

#ProyeccionDeVida

🎬 “PSICÓPATA AMERICANO” [American Psycho]  🪓🔪😱

🔎 Género: Drama / Terror / Crimen / Años 80 / Negocios / Asesinos en serie / Drama psicológico / Película de Culto / Comedia Negra

⏰ Duración: 101 minutos

✍️ Guion: Mary Harron y Guinevere Turner

📕 Novela: Bret Easton Ellis

🎼 Música: John Cale

📷 Fotografía: Andrzej Sekula

🗯 Argumento: En un mundo de moral plana en el que la ropa tiene más sentido que la piel, Patrick Bateman es un espécimen elaborado de forma soberbia que cumple todos los requisitos de Master del Universo, desde el diseño de su vestuario hasta el de sus productos químicos. Es cuasi perfecto, como casi todos en su mundo e intenta de forma desesperada encajar. Cuando más intenta ser como cualquier otro hombre adinerado de Wall Street, más anónimo se vuelve y menos control tiene sobre sus terribles instintos y su insaciable sed de sangre, que lo arrastra a una vorágine en la que los objetos valen más que el cuerpo y el alma de una persona.

👥 Reparto: Christian Bale (Patrick Bateman), Jared Leto (Paul Allen), Willem Dafoe (Detective Donald Kimball), Guinevere Turner (Elizabeth), Chloë Sevigny (Jean), Reese Witherspoon (Evelyn Williams), Josh Lucas (Craig McDermott), Justin Theroux (Timothy Bryce), Samantha Mathis (Courtney Lawrence), Cara Seymour (Christie) e Isis Mussenden.

📢 Dirección: Mary Harron

© Productora: Lionsgate

🌎 País: Estados Unidos

📅 Año: 2000

📽 Proyección:

📆 Martes 26 de Marzo 

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

2. American Psycho (2000) dir. by Mary Harron

A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies.

Cinematography Andrzej Sekula

American Psycho: A Landmark in Digital Cinema

American Psycho is considered a landmark film for its ground breaking use of digital cameras. Directed by Mary Harron in 2000, the movie was one of the first significant Hollywood releases to be entirely shot on digital cameras, signalling a major shift in film production. The innovative utilisation of digital technology in American Psycho marked a new era of filmmaking, where creativity and experimentation were no longer limited by traditional film methods.

The Advantages of Digital Technology

The use of digital cameras in American Psycho enabled the filmmakers to try new techniques and styles that were not feasible with traditional celluloid film. Cinematographer Andrzej Sekula utilized the flexibility and control provided by digital technology to enhance the film's ominous and frightening atmosphere. The film's muted colour palette and subtle lighting reflected the emotional turmoil of Patrick Bateman, the lead actor, and created a sense of detachment and emptiness. The innovative use of digital cameras in American Psycho paved the way for a new era of creative expression in filmmaking.

hackers (iain softley, 1995)

Pulp Fiction (1994)

Director: Quentin Tarantino

Cinematographer: Andrzej Sekula

American Psycho (2000) dir. Mary Harron