Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for ...
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A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for the Maas Corporation. Fox has accepted an offer to persuade Hiroshi to go over to the Hosaka Corporation. Sandii is a little Italian girl from Japan and she should be the way to get to Hiroshi. X is the man who should train Sandii to break Hiroshi's Heart. But if X falls in love with Sandii? And if the Hosaka Corporation breaks the agreement? And if Sandii is not a little Italian girl? Written by
Baldinotto da Pistoia
Plans for an adaptation of William Gibson's story were made as far back as 1989, with Kathryn Bigelow originally attached to direct. See more »
Come on, you know this better than anybody, right? There's a full-scale subterranean war being waged for every shred of information. And the corporate suits are killing each other off by the thousands each year. I mean it's like the holocaust in the 20th century. Everybody knows about it, and nobody says anything about it. And government is as culpable as any corporation.
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This film is based on a William Gibson short story by the same name in a collection of shorts titled "Burning Chrome". This story itself is less than a dozen pages with no quotation marks appearing anywhere in the print.
From this short story with absolutely no dialog, master director Able Ferrara crafts a haunting film that is primarily dialog driven. The small cast's intimate conversations, which are woven together into a disjointed collage, are the heart of the film.
One might assume that this divergence from the original media's style would result in a derivative work that no longer held true to the essence of the original. This is wonderfully not the case.
This is one of my favorite Ferrara films, precisely because it translates the written work so aptly. This film is not intended for mass market appeal, but is instead uncorrupted artistic expression. I do not believe that this film was intended by the director to be a financial success (I wish it were so I could see more like it) but to be an artistic success.
The film is technically a science fiction work because it is set in the future. This is a future of gritty realism. The filth, violence, and crime of our present has not been washed away by the years. It is omnipresent as always. Ferrara has used very few "special effects" to indicate future technology as there was no need to do so. In the decadent underworld that is his setting, said future tech is in cell phones and surveillance equipment which are subtle background, not flashy foreground. There are no laser guns or flying cars.
This is a story about memory and feeling. It has a tendency to be non-linear. The music selected and performed in the film is a perfect compliment to the shadowy, disjointed imagery. The acting from everyone including the three principals, Walken, Dafoe and Argento, is superb. Ferrara films often involve small tight-knit casts with soulful dialog and this is more of the director and his cast at their best.
This is a film from a lover of film to lovers of film.
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