> Brazil
> Fight Club
> Ghost in the Shell
> Johnny Mnemonic
> The Lawnmower Man
> The Matrix
> Max Headroom
> New Rose Hotel
> RoboCop
> Strange Days
> The Terminator
> Terminator 2: Judgment Day
> Tetsuo - The Iron Man
> Tetsuo 2 - The Body Hammer
> Until The End of the World
> Wild Palms
Director: Ridley Scott
Ridley Scott's Blade Runner, Based on Philip K. Dick's novel Do Androids Dream of Electric Sheep, is unquestionably the genre-defining cyberpunk movie.
Rick Deckard, a bounty hunter specialized in destroying escaped replicants; artificial humans used as slave labor in off-world colonies.
the way . Los Angeles on the year 2019. visual look of "noir" films. Asian, especially Japanese.
Director: Terry Gilliam
Sam Lowry is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient. He dreams of a life where he can fly away from technology and overpowering bureaucracy, and spend eternity with the woman of his dreams. While trying to rectify the wrongful arrest of one Harry Buttle, Lowry meets the woman he is always chasing in his dreams, Jill Layton. Meanwhile, the bureaucracy has fingered him responsible for a rash of terrorist bombings, and both Sam and Jill's lives are put in danger.
From Interner Movie Database: www.imdb.com
Director: David Fincher
Based on the debut novel by recent University of Oregon graduate Chuck Palanhiuk about a confused young man in the not too distant future. With no family or close friends, he frequents cancer and disease support groups as a way to bond with others, pretending to be terminally ill or feigning various other infirmities to fit in. Sick of his dead end, white bread, white collar corporate career and disgusted with the empty consumer culture that his generation has been doomed to inherit, he and a very devious friend named Tyler Durden create a new club where young men come to relieve their frustrations by beating each other to a pulp. The popularity of this club grows exponentially, and eventually some very profound rules are created to govern it. Because one of those rules is no more than 50 people to a fight club, soon new fight clubs are popping up everywhere and spread across the nation. Tyler Durden, the fight club's founder, quickly becomes a cult hero of epic proportions, a new messiah for a dead generation. While all this is happening, the nameless, narrating main character manages to get involved in a love triangle with Tyler and a girl named Marla who seems to have an endless supply of ex-boyfriends just as screwed up as he is.
From Internet Movie Database: www.imdb.com
Director: Mamoru Oshii
Director: Robert Longo
Director: Brett Leonard
Director: Andy Wachowski, Larry Wachowski
Director: Annabel Jankel, Rocky Morton (original series).
Recognized as the first cyberpunk television series, Max Headroom went through a variety of different incarnations. Beginning in 1984, Channel Four in Britain developed the idea of creating an unusual music video show that would utilize a computer-generated host. Clips of this host would be split up into several five-minute segments and dispersed throughout the day's video programming.
Max Headroom was played by Matt Frewer, who was working as an actor in England at the time. He had screen tested to be a V.J. for Chrysalis records to help promote their artists overseas. When it was decided that for the video show's "host" they try to 'simulate' a computer-generated man, Frewer was done up in rubber make-up (which took four hours to apply, and an hour to remove) and placed in front of a bluescreen. The bluescreen allowed any background to be shown behind him. Max then went on to host the Music Video series (Max Headroom himself was never an actual computer image).
They were so pleased with the results that they commissioned a screenplay describing the fictional story of his origin. Max Headroom was then developed in England as a feature-length made for TV movie, which was shown as a pilot for the music series, to general critical acclaim.
Max then made his way across the Atlantic to American Television when Lorimar acquired the rights to the character in 1987. The American Max Headroom TV series was based on the British made for TV movie. The first episode was a shorter version of the original British story, featuring some of the same actors. The series continued the story of Max Headroom, reporter Edison Carter, and Network 23, telling it's stories with a dark sense of humor that raised some serious speculation about the power and ethics of television. It created a slightly satirical but intricately realized vision of the future with a gritty, "Brazil"-like, "retro-tech" feel. For a show set in a future where television ratings are all-important, the ultimate irony was the show's untimely cancellation after only fourteen episodes (the last of which was unaired in the U.S. until the series was picked up by the Bravo Network.)
Director: Abel Ferrara
Director: Paul Verhoeven
Director: Kathryn Bigelow
It is 1999, and urban society is little more than a vast wasteland of anarchic violence. Seedy, burnt-out ex-cop Lenny Nero caters to the sensation-seeking citizens by dealing in "clips": virtual reality sequences where the user can "re-live" the experiences of another, including robberies, rape and murder. But Lenny's life is turned upside-down when two rabid cops, who want an incriminating clip that Lenny possesses, begin to pursue him. Furthermore, Lenny, with the help of female bodyguard Mace, is desperately searching throughout the chaotic enclaves of L.A. for his ex-girlfriend Faith, who he still loves.
Everything comes to a head at a wild, tremendous -- and turbulent -- New Year's Eve party that will usher in the new millennium.
From Internet Movie Database: www.imdb.com
Director: James Cameron
Director: James Cameron
Director: Shinya Tsukamoto
In the opening line of his cyberpunk classic 'Neuromancer', author William Gibson describes the sky over a future metropolis as similar to "the colour of television, tuned to a dead channel". His world is one in which human form has successfully merged with technology, creating a hybrid who are able to physically jack into computers and whose body parts are as much a result of global corporation's research departments, as they are of the genetic imprints of their parents. In this world, a melange of the nihilistic excesses of Philip K. Dick and the non-linear, heavy metal fuck fests of a Burroughs novel, desire for the purely human form is subsumed by the desire for the perfect being, and as no human is ever perfect, everyone craves the allure of metal flesh.
It therefore comes as no surprise that Gibson is a great fan of Shinya Tsukamoto. He has come closer than any other director to realising the world Gibson writes about, be it filtered through his own, wonderfully perverse imagination. His films are blipverts from the apocalypse; rapid-fire images uncovering a future in which the excesses of technology have pushed the human form to its limit. Beyond lies a new world, in which flesh ceases its existence as organic matter, preferring to incorporate the technology that has pushed it there.
Blasting onto the screen with 'Tetsuo' in 1991, Tsukamoto offered audiences a vision of cyborg culture which probably left Donna Harraway shit scared. Opening with a landscape that resembled Gibson's television channel, Tsukamoto presented a bleak view of a society overtaken by technology and the belief that a perfectly functioning world will produce perfectly functioning people. In such a society it wouldn't be long before someone uses part of their "perfect" world to improve themselves. Enter Tomoroh Taguchi.
Director: Shinya Tsukamoto
Tetsuo II: Body Hammer leads you into a breathtaking post-industrial world. It is not a sequel to The Iron Man, but rather a bold reworking of the original story that’s even stronger and more powerful then its predecessor.
Tetsuo II: Body Hammer is presented with a completely new setting and an expanded storyline. The story revolves around Taniguchi, a Tokyo businessman whose son is kidnapped by a gang of indoctrinated street thugs. Pushed over the edge by his son’s disappearance, Taniguchi undergoes a cyborg transformation - from mild-mannered family man to a ferocious half-man/half-machine walking arsenal. When Taniguchi confronts his primeval nemesis (played by Tsukamoto), a murderous battle rages between himself and his enemy’s deadly gang culminating in a final clash between these two powerful forces of redemption and destruction. The final battle, with chilling special effects, highlights the austere precision of Mr. Tsukamoto’s vision.
From http://www.manga.com/tetsuo/synopsis.html
Director: Wim Wenders
Set in 1999, a woman (Dommartin) has a car accident with some bank robbers, who befriend and enlist her help to take the money to a drop in Paris. On the way she runs into another fugitive from the law (Hurt), an American who is being chased by the CIA. The charges are false, he says, that they want to confiscate a device his father has invented which allows you to record your dreams and vision. On the run from the bank robbers and the CIA, they span the globe, ending up in Australia at the research facility of his father (von Sydow), where they hope to be able to play back the recordings Hurt has made to his blind mother.
From Internet Movie Database: www.imdb.com
Director: Kathryn Bigelow, Keith Gordon, Peter Hewitt, Phil Joanou
LA in the near future, Harry Wykoff accepts a job as presidents of a gigantic TV company. Het is confronted with a total new technology called "The New Reality" where three-dimensional TV animated pictures are projected in living rooms all around the world. Harry launches to the top of the company with his career but once there he is caught in a web of intrigues, betrayal and murder. A game of life and death begins...
From Internet Movie Database: www.imdb.com
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