""Today your heart shines like the sun.Do not let your fears, pain or hardship overshadow and prevent see the glow of your soul.Be happy,reset the bad, today is forced to erase from the mind all negative thoughts; curfew that requires to be happy is imposed ...
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(1) Gattaca (Andrew Niccol, 1997)
When Gattaca was released in the USA, the producer of the film launched an advertising campaign consisting in the publication of false service ads breeding children. In just a few days, hundreds of parents had called the telephone number of the announcement, showing that a society like Gattaca, in which humans genetically improved monopolize the upper social strata to the detriment of human diminished, not take too long consolidate in the event that these genetic treatments were legal. That said, the question is: society of Gattaca, is it a dystopia or a utopia? If they think they are clear, see the film again with clear eyes. And by the way: the protagonist of Gattaca manages toovercome his mediocre genes only after atrocious suffering, a willingness to test DNA and pure and personal effort. Socialism, of course, is no.
More dystopias: (2) 2024: Nuclear Apocalypse (LQ Jones, 1975). Pure science fiction of the 70s, that is completely past thread for good and for bad.In an indeterminate post-apocalyptic future, a teenager, with his telepathic dog, is kidnapped by a race of humans living sterile underground and seek to use itas a stallion. Faced with the underground utopia and good Victorian mores, the protagonist chooses the devastated post-nuclear dystopia abroad. But if you want something more substantial, better stay with (3) Children of Men (Alfonso Cuarón, 2006).
(4) Apollo 13 (Ron Howard, 1995)
Unanimously recognized as one of the films more realistic scientific topics in history, Apollo 13 pivots on a single scene: that in which a handful of NASA engineers are forced to improvise in real time an air filter with materials waste available on Apollo 13. The wet dream of every dying geek : an almost unsolvable problem that can be solved only with talent, coffee and a good dose of lateral thinking. From the moment when Apollo 13 takes off, the film can be seen almost as a documentary to which the tagline “based on real events” will fall short.
More geeks wet dreams: (5) Sneakers , snoopers (Phil Alden Robinson, 1992). A thriller about cryptography, espionage, hackers and several security holes. To his credit, a vision moderately realistic of security professionals (computer and analogue). A cult movie, up to the legendary (6) War Games (John Badham, 1983).
(7) Primer (Shane Carruth, 2004)
Written, produced and directed by Shane Carruth with a budget of just $ 7,000, Prime is a monumental treatise on philosophy of science that revolves around a very simple idea: the almost accidental invention of a time machine by two engineer friends . Able to freírle the brain to the moviegoer with more structured mind on the face of planet Earth, First raises many paradoxes associated with time travel and the ethical implications of some scientific discoveries able to significantly alter our reality. In another vein, the film is considered a cult film for its verisimilitude (not in vain Shane Carruth is a mathematician and engineer) and design realistic production to boredom: if the viewer has to swallow ten minutes of a engineer adjusting screw in a mass of iron and circuits located in a current – mill garage, or an incomprehensible conversation about go you know what technical aspects of the pileup, swallows. That is, fans of Star Trek and The Star Wars refrain. Mathematicians and physicists with fewer social skills that a weasel, welcome to Jauja.
More time travel: (8) Donnie Darko (Richard Kelly, 2001). Those who have seen Donnie Darko are divided into two groups: those who consider the most overrated film in movie history, and those who consider it the most underrated.Without a doubt, Donnie Darko has its own personality .
(9) A Beautiful Mind (Ron Howard, 2001)
Obviating the sugar added to all Hollywood films with Oscar vocation, A Beautiful Mind is exemplary primarily for its ability to impart emotion to the branch of the coldest and abstract science. Ie mathematics. Because in this biopic of mathematician John Nash Nobel Prize, the least important is his mental illness and more, the question “is there a direct relationship between madness and genius trend?”
More math: (10) Good Will Hunting (Gus Van Sant, 1997). Although his concept of genius is radically unscientific (Matt Damon overwhelms his opponents more gallitos demonstrating his encyclopedic knowledge about thehistory of the US, when it is assumed that he is actually a genius of abstraction), the film raises quite realistic demands which carries a life dedicated to science or social life or Nobel. A second option would be (11) Pi, Faith in Chaos (Darren Aronofsky, 1998), in which the director unapologetic mixture Jewish cabal, mathematics, pi and the alleged true name of God.
(12) Solaris (Steven Soderbergh, 2002)
Although Solaris , the novel by Stanislav Lem in which Soderbergh’s film is based, is one of those books that everyone sees what he wants, I’ll stick with something that is often overlooked: the true nature of that mysterious sea, able to penetrate the human mind and give life and physicality to memories .Perhaps a metaphor for a clumsy god, absurd and unaware of their own power and the consequences of their actions, a very distant paternal entity of God and 100% human religions of the book? Or maybe a simple, but monstrous way of life that it is not governed by the evolutionary logic that we know and we believe universal?
More Solaris: (13) Solaris (Andrei Tarkovsky, 1972). Denser, more incomprehensible, more bitter and more melancholy than the version of Soderbergh. More Russian, ultimately . And if they want more science fiction according to Russian worldview, they all face if they can (14) The area also Tarkovsky, released in the rest of the world with the name of Stalkers , in 1972.
(15) Alphaville (Jean-Luc Godard, 1965)
Alphaville is a city / futuristic society organizations from the extreme rationality. Alpha 60, a computer that appears as a Taliban of reason, controls the city, which have been banned human emotions: love, sadness, affection … has also been banned poetry and even a few words, like “why”, which should be replaced by “because”. A city that comes Lemmy Caution, a detective posing as a journalist and has a dual mission: locate an agent who has lost track and assassinate Professor von Braun, creator of the computer 60. Alpha Godard he raised in Alphaville several of the contradictions associated with the utopian ideologies, those who defend the submission of the individual and the repression of all traces of individuality for the benefit of the common good course. The anti – rationalist discourse we talk another day.
More cyber-noir: (16) Blade Runner (Ridley Scott, 1982). Quite simply, the best science fiction film history and, along with Alphaville, the only able to wear the label proudly cyber-noir.
(17) Cube (Vincenzo Natali, 1997)
In essence, Cube is a horror movie with mathematical alibi. Gore math, if they prefer. The argument? Six individuals, all of them unrelated to the other (a policeman, a fugitive, one doctor, an architect, a mathematical and an autistic), wake up in a structure consisting of cubes connected to each other, actually a mortal trap that They must escape pooling their skills. What is striking is that the resolution implies Cartesian coordinates cube and prime numbers, but ofcourse, it is well known how difficult it is to calculate when they threaten triturarte if you’re wrong. As little curious.
More gutted heads: (18) Scanners (David Cronenberg, 1981). An individual with psychic powers confronts his nemesis, a murderer with his own potential and seeks to dominate the world busting heads inferiors. Good versus bad telepath telepath, one of the most bizarre duel of the films of Cronenberg, which is saying something.
(19) Moon (Duncan Jones, 2009)
One of those movies that, as the aforementioned Alphaville or Blade Runner,raises the question of what makes us human . Away entirely from the science fiction pyrotechnical with thousands of lasers, mammoth spaceships and aliens of all types and condition, Moon is a clear example of that than in Anglo -Saxon countries called “hard science-fiction” and, very briefly, would become brain science fiction and claims of credibility and intellectual depth. As, in a different field, (20) 12 Monkeys (Terry Gilliam, 1995) and experimental precursor (21) La Jetée (Chris Marker, 1962), or (22) Minority Report (Steven Spielberg, 2002).
More artificial life with feelings: (23) AI. Artificial Intelligence (Steven Spielberg, 2001). Based on the story The súperjuguetes last all summer , Aldiss Brian, AI is a ruthless fable about the limits of humanity. A much less sweet than it may seem at first glance movie.
(24) Contact (Robert Zemeckis, 1997)
Based on the only novel written by Carl Sagan, Contact tells the story of a scientist at the SETI program that can decipher what appears to be an alien from outer space message. Although the novel Sagan covers much more ground than the film and saves a dose of sentimentality that Zemeckis could have been saved for another day, the film is remarkable when puts the rationalist and completely disbelieving scientific played by Jodie Foster in front of their own contradictions, ingrown a priest and Christian philosopher, or when portrays the blindness of bureaucracy regarding everything that has to do with scientific thinking. Not to mention the hypnotic opening scene .
More contact with alien intelligences ¿?: (25) 2001 A Space Odyssey (Stanley Kubrick, 1968). The starting point for all the hard science fiction that came after, and that film does not age the years go passing.
(26) Wall-E (Andrew Stanton, 2008)
The story of Wall-E, a robot-dustman roñosillo anchored on Earth (a PC, if you want to read between the lines) and its Eva love, modern and gleaming robot-explorer (MAC) landing a day planet for possible traces of life. After the meeting, Wall-E follows Eve to a spaceship in the vegetating part of what remains of the human race after centuries of living in microgravity: a mob of idiots, obese and lazy tourists unable to move if not it is aboard conveyor carts.The second part of the film, which begins with the arrival of Wall-E and Eve to the ship, is a marvel. The first half, in which not a word is pronounced and where the solitary routine Wall-E is described as clean the garbage of a devastated planet Earth, it is a total and absolute masterpiece. But if it bothers them the childish tone (which has nothing to infantiloide), the hardcore option cartoon science fiction would rather be represented by the Japanese (27) Akira (Katsuhiro Otomo, 1988) and (28) Ghost in the Shell (Mamoru Oishii, 1991), or the American (29) a Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick.
More Disney: (30) The black abyss (Gary Nelson, 1979). One of the first experiments Disney in the field of science fiction aimed at an audience slightly more adult than usual. Its original title makes more sense than Spanish: The Black Hole . Because that is the movie, black holes, not “black abyss”.
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