ATROPA – Series Trailer – Available Now! from Eli Sasich on Vimeo.

ATROPA: The Series is available NOW on Vivendi's STUDIO+ platform –– download the app and watch all seven episodes today!

In the web serial ATROPA: The Series, off-world detective Cole Freeman (Tony Bonaventura) and the crew of a drifting spaceship face a cosmic mystery that not only redefines their perception of time and space, but also threatens to send them spinning to their doom. A nostalgic throwback to sci-fi films of old, ATROPA: The Series sends its cast of spacefaring characters down grimy ship corridors and confronts them with the dangers of deep space in their perilous quest for universal truth.
ATROPA: The Series began life in 2015, when filmmaker Eli Sasich made a short film — called simply ATROPA — as a pitch for a feature script. Having released the short online, Sasich went through a long development process aimed at bringing the story to the big screen, before ultimately realizing the project as a seven-episode series backed by Vimeo and released through Vivendi’s STUDIO+ platform.

....We had an incredible team who went above and beyond to help bring you something truly special with this short-form series. Many of the folks listed below have been with the project since the original pitch short was shot five years ago! It was a surreal experience to come back together and complete the story. A huge thank you to each and every member of the cast and crew for your hard work and dedication!

Director: Eli Sasich

Writers: Clay Tolbert & Eli Sasich

Producer: Lieren Stuivenvolt Allen

Producer: Chris Bryant

Executive Producers: Eli Sasich, Clay Tolbert

Director of Photography: Greg Cotten

Production Designer: Alec Contestabile

Editors: Zach Anderson, Adam Van Wagoner

Original Music by: Kevin Riepl

Costume Designer: Dagmarette Yen

Visual Effects Supervisor: Ryan Wieber

Spaceship Visual Effects Supervisor: Tobias Richter

Spaceship Visual Effects by: The Light Works

Earth Sequence Visual Effects Supervisor: Matt Hoffman

Earth Sequence Visual Effects by: BluFire Studios

Associate Producers: Kevin Riepl, Ryan Wieber, Greg Cotten, Chris Sasich


Tony Bonaventura

Jeannie Bolet

Ben Kliewer

Chris Voss

David M. Edelstien

Ewan Chung

Kevin Swanstrom

Amir Malaklou

Featuring Michael Ironside as 'Captain Schreiber'


Corridor Productions

In Association with VIMEO


Unit Production Manager: Lieren Stuivenvolt Allen

1st AD: Boman Modine

2nd AD: Nathaniel David Shriver

Script Supervisor: Steve Montal

Art Director: Clayton Beisner

Set Decorator: Sophie Peter

Property Master: Robert St Laurent

1st AC: Brian White

2nd AC / DIT: Ryan Summersett

Gaffer: Arjun Prakash, Jeff Godshall,

Colorist: Tashi Trieu

Hair and Makeup Department Head: Mandy Artusato

Sound Mixer / Boom Operator: Yu-Ting Su

Supervising Sound Editor: Michael Ault

Sound Editors: Leo Magrin, John Maximilian Repka

Additional Sound Editing: Alan Guzman

Orchestration: Susie Benchasil Seiter, Chad Seiter, Kevin Riepl Music

Poster Artist: Paul Shipper – Paul Shipper Studio

Production Assistants: Brendan Peterson, Kevin Swanstrom, Shane Leary, Bradley Specht, Jacob Arzola, Jessica Miller, Daniel Macdonald, Adam Valazquez


Yesterday we wrote of the low opinions the eminent J.R.R. Tolkien and his friend C.S. Lewis held for the “vulgar” creations of Walt Disney. As a counterpoint to their disdain for popular entertainment, we might turn—as writer Steven Graydanus does in Disney's defense—to their contemporary, the Catholic apologist and prolific essayist, journalist, poet, and writer of detective novels and short stories, G.K. Chesterton.
But we aren't talking Disney here, but hard-boiled pulp fiction, a genre I think Chesterton would have liked. Chesterton’s work “was entirely popular in nature,” notes Graydanus. He was “a great defender of popular and even ‘vulgar’ culture." Take his essay “A Defense of Penny Dreadfuls,” which begins:
One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsically--it is the actual centre of a million flaming imaginations.
Sentiments like these inspired admirers of Chesterton like Marshall McLuhan and Jorge Luis Borges to take seriously the mass entertainments of their respective cultures.



Pablo Neruda’s Poem, “The Me Bird,” Becomes a Short, Beautifully Animated Film

From 18bis, a Brazilian design & motion graphics studio, comes this: an animated interpretation of “The Me Bird," a poem by the Nobel Prize-winning poet Pablo Neruda. Writes 18bis, “The inspiration in the strata stencil technique helps conceptualize the repetition of layers as the past of our movements and actions. The frames depicted as jail and the past as a burden serve as the background for the story of a ballerina on a journey towards freedom. A diversified artistic experimentation recreates the tempest that connects bird and dancer." It's all pretty wonderful.

Via www.openculture.com


The Beauty of Jean Cocteau’s ‘La Belle et la Bête’ ( The tale’s magic began on film, with Jean Cocteau).

...In his collected essays in The Art of Cinema, Cocteau coins his essays on cinema under the cine-poetry term, calling them Poésie de cinéma. As Robin Buss notes in his introduction to the collection, Cocteau “asserts that the underlying mechanism of cinema is like that of dreams.” Cocteau is neither a filmmaker nor a playwright nor a writer, but a poet; and to him, poets operated not just in the form of poetry, but in the form of dreams. Importantly to him, however, cinematic poetry is not “deliberately ‘poetic’” (which steered into the world of elitist art cinema, according to Cocteau), but derivative from the real and the unreal; from what audiences believe and what they see.
What Cocteau allows his audience to see in La Belle et la Bête can either be seen as a manipulation of his viewer or his ability to use the technicalities of filmmaking as a form of magic. For example, Cocteau has described how he persuaded Alekan “to shoot Jean Marais, as the Prince, in as saccharine a style as possible. The trick worked. When the picture was released, letters poured in from matrons, teenage girls and children, complaining to me and Marais about the transformation.” A conflict between the artistic and the technical emerges here, as the ugliness of the Prince reminds the viewer of the lure and attractiveness of the Beast.

Yet, for the Beast’s actor Jean Marais (who also played what would be Disney’s version of Gaston, Avenant, and the Beast-turned-prince), the costume of the Beast was so uncomfortable that Marais developed painful sores while his skin was damaged by the glue used to keep the fur on his body. For Jean Marais — a person who looks more like a Greek sculpture than a mere human — turning into the Beast brought pain and ugliness for the actor, while for Josette Day’s Belle, and for the audience, the pain only came once the Beast had vanished, left only with the uncomfortably real-looking Marais. In fact, there’s the now well-known story that Marlene Dietrich, upon seeing the shimmering prince, called “where is my beautiful Beast?” The technical is turned into poetry here, with Marais’ real-life pain mirroring both the Beast’s internal struggle as well as the pain audiences feel upon seeing the prince.



...In the following supercut from La Cinematheque Francaise, most-all the god’s-eye view shots (more like Dutch tilts) from DePalma’s filmography have been assembled to reveal the various impacts the shot has on his particular brand of storytelling.



Two cinematic giants, side by side.

The films included are:

Stanley Kubrick
- Path of Glory (1957)
- Spartacus (1960)
- Lolita (1962)
- Dr. Strangelove (1964)
- 2001: A space odyssey (1968)
- A Clockwork Orange (1971)
- Barry Lyndon (1975)
- The Shining (1980)
- Full Metal Jacket (1987)
- Eyes Wide Shut (1999)

Andrei Tarkovsky
-Ivan's Childhood (1962)
- Andrei Rublev (1966)
- Solaris (1972)
- The Mirror (1975)
- Stalker (1979)
- Nostalghia (1983)
- The Sacrifice (1986)

Music: Max Richter- On the nature of daylight




In 1900, Greek sponge divers discovered a shipwreck off the Greek island of Antikythera. The artifacts they came back up with included money, statues, pottery, and various other works of art and craft, as well as a curious lump of bronze and wood that turned out to be by far the most important item onboard. When an archaeologist named Valerios Stais took a look at it two years later, he noticed that the lump had a gear in it. Almost a half-century later, the science historian Derek J. de Solla Price thought this apparently mechanical object might merit further examination, and almost a quarter-century after that, he and the nuclear physicist Charalambos Karakalos published their discovery–made by using X-ray and gamma-ray images of the interior–that those divers had found a kind of ancient computer....

The video depicts a virtual model of the Antikythera Mechanism by Mogi Vicentini based on the theoretical and mechanical model by Michael T. Wright produced for the Galileo Museum in Florence, Italy.

Learn more at:


The Antikythera Mechanism: http://bit.ly/fm4oFK is the oldest known scientific computer, built in Greece at around 100 BCE. Lost for 2000 years, it was recovered from a shipwreck in 1901. But not until a century later was its purpose understood: an astronomical clock that determines the positions of celestial bodies with extraordinary precision. 

In 2010, we built a fully-functional replica out of Lego. 

Sponsored by Digital Science: http://www.digital-science.com/ a new division of Macmillan Publishers that provides technology solutions for researchers. Available under a CC-BY-3.0-Unported license.

Antikythera Mechanism Research Project http://www.antikythera-mechanism.gr

VIA http://www.openculture.com/page/2


Tarkovsky, A. (1986) 'Sculpting In Time'
Documentary - Sacrifices of Andrei Tarkovsky (2012)
Documentary - Tarkovsky In Italy (1984)
Cinephilia & Beyond - 'Sacrifices of Andrei Tarkovsky'
Essay - Criterion Collection (Andrei Rublev)
Essay Criterion Collection (Solaris)
Nostalghia.com - A collection of interviews and various research material focused on Tarkovsky.



"YOU ONLY LIVE ONCE" generic mood video from DIMITRI VORRIS on Vimeo.
Four women. A major challenge. A life-changing journey.
Four women challenged by breast cancer, meet in a New York hospital. Travelling for a wedding to the Aegean island of Kos, in Greece, the birthplace of Hippocrates, father of (holistic) medicine, they seize the opportunity. Their doomed careers and wrecked personal lives take a turn for the better...
A heartfelt screenplay about finding the courage to change and fall in love again after life (and others) had let you down...

YOU ONLY LIVE ONCE: Artemis Simpoulos-author of THE OMEGA DIET-on Greek Diet (part one)

Artemis P. Simopoulos, author of the Omega Diet describes the advantages of the Greek diet for your health. This is part one. Please also watch part two.
Artemis P. Simopoulos, M.D. is the Founder and President of the Center for Genetics, Nutrition and Health, a nonprofit educational organization in Washington, D.C. since 1990. A graduate of Barnard College, Columbia University, with a major in Chemistry, and a graduate of the Boston University School of Medicine, she is a pediatrician and endocrinologist whose research at the National Institutes of Health (NIH) was on the nutritional aspects of genetic and endocrine disorders; evolutionary aspects of diet and fatty acids; and the importance of a balanced ratio of omega-6/omega-3 fatty acids in health and disease and in growth and development.