You’ve probably heard it millions of times in the past month – these are unprecedented times. Whether you call it quarantine or just another day in your cool life as a homebody, our world has changed drastically thanks to the corona virus for the unforeseen future. Sure, it’s daunting, but we got it. Self-care, isolation and the knowledge that we are loved by family and friends will bring us through. But there are still many hours in a day and we have to deal with it. Home entertainment has probably never been more important. Thank god these are not the 80s, are they? We don’t have to see the same 13 channels on a crappy box and sit through a flood of bad local commercials. It’s the 21st century and we can see almost anything with a simple push of a button. With this remarkable technology, we are ready to fight the spread of the coronavirus by staying at home. And we will win … with the help of films.
Since the news, the virus has invaded our stratosphere like a flaming asteroid in a bad Michael Bay movie. You have probably already read some lists of films related to terrible viruses and the like. Films like infection or outbreak appear to be at the top of everyone’s radar as it is literally the spread of a deadly disease. Or maybe you pulled out that old DVD copy 28 days later, in which the person concerned foams at the mouth and runs through deserted cityscapes like acid zombies. These are great, and we recommend them as films, but allow us to suggest some viewing options that are equally deserved but less obvious. Instead of going straight to “disease” films, try some films that also address the undercurrent of emotions that we are all feeling – reactions to isolation and resistance to a world that is changing before our eyes, life after Apocalypse, light fare like that. You can stream some of these babies for free through your preferred streaming service, while some can be rented for a few dollars. Rent it – you won’t be visiting fancy restaurants or big concerts anytime soon.
Imagine being ripped out of your everyday life, robbed of your security and caught in a house indefinitely. Can you imagine such a scenario? miseryRob Reiner’s brilliant adaptation of the Stephen King thriller redefines the word “confiscated”. After the psychotic nurse Annie Wilkes (Kathy Bates in an Oscar-winning performance) pulled her favorite novelist Paul Sheldon (James Caan) out of a car wreck, he is not only forced to write another novel for his kidnapper, but is also subjected any kind of abuse you can think of. Even though misery usually takes place in a house, it is a cinematic journey. It is also a strangely happy experience as it reminds us that although we are currently banished to our homes, at least no crazy lady with a sledgehammer watches over us.
9. The dreamer
It’s 1968 in Paris. The city feels flammable and is ready to crack in the air due to social and political change. The three characters that inhabit 2003 The dreamer These include Matthew (Michael Pitt), an American student studying abroad, Isabelle (Eva Green) and her twin brother Theo (Louis Garrel). After meeting Matthew at the movie library, the twins invite him back to their apartment, where their parents spent a month off. For the rest of the film, the three students isolate themselves in the attic, where they exchange ideas, explore sexual customs, and re-enact their favorite scenes from their favorite films. Director Bernardo Bertolluci’s love letter about films, revolutions and ideas reminds us that sometimes it is necessary to cut ourselves off from the world in order to recognize our own meaning. The dreamer is a daring film that never compromises (rated NC-17). When our protagonists are dangerously close to pushing the boundaries of their own mental health, rioters throw a brick outside through their window and pull them back into reality. This film reminds us that isolation is not just gloom and that it is possible to create a space in which we can understand our role in a world that is constantly fluctuating.
8th. Mad Max 2: The street fighter
If you think getting a roll of toilet paper in the supermarket is difficult, try going to war with a bunch of leather-clad punk rock psychos in the vast deserts of the outback to get a simple gallon of gasoline. Mad Max 2: The street fighter, George Miller’s second (and best) chapter in the Crazy Max Series, reinforces the action and violence in a future after the nuclear war, in which everyone is desperately looking for fuel. Mel Gibson is at his best as Max, an anti-hero with a muscle car and a dog who helps a clan of citizens protect their gasoline loads from a group of looting bandits who all look like they fell from an S&M club or a Gwar concert. Watch out, please don’t stop at the market, or one day we’ll race down all the empty highways and shoot each other on a pack of Charmin with crossbows and sawn-off shotguns.
When extraterrestrial was released in 1979, it turned science fiction on its interstellar head. What was once a genre that focused on intergalactic discoveries suddenly became a sub-genre of horror about infection and exotic ecology. So why add a classic monster movie to this list? Simple – extraterrestrial it is about both the effects of isolation (lost in space) and infection (the alien itself). The crew of the ship’s spacecraft Nostromo with outstanding actors such as Tom Skerritt, Yaphet Kotto and Harry Dean Stanton accidentally brought a foreign organism onto their ship. Soon the tiny organism, also known as the “chest burster”, grows into a malevolent being with thick, arachnid-like limbs, a dagger-like tail and a second set of sharp teeth. The creature pierces and soon picks up each crew member until the breathtaking showdown with a really evil Ellen Ripley (Sigourney Weaver). With a complicated and dreamy set design by the artist HR Giger and the methodical, suffocating tone by director Ridley Scott extraterrestrial will remind us why we stay inside at all. Oh, and as Ripley runs through the corridors with a flamethrower and a pet carrier, keep your kitten close!
David Cronenbergs 1977 Rabid – His fourth appearance as one of the genre’s best horror directors is a curious glimpse into the spread of a deadly epidemic. After Rose (porn star Marilyn Chambers) had a motorcycle accident with her boyfriend, Dr. Dan Keloid (Howard Ryshpan), a plastic surgeon who experiments with innovative forms of transplantation. Keloid is giving Rose a bizarre new skin graft that turns out to be deadly and starved to others. This embryonic graft is located in Rose’s armpit like a tiny phallus that looks out its head and punctures its victims. Soon Rose walks through the streets of Montreal, takes strange men home, pierces them, and then sucks her blood like a vampire. Her thirst for blood becomes compulsive like that of a junkie. The bigger problem is that before death, their victims use foam from their mouths to attack their fellow citizens and spread the disease throughout the city. It may sound like a familiar area, but with Cronenberg’s subtle, pragmatic approach, the rise of the infected feels too real.
5. The breakfast club
What do you say we make things a little easier? We can almost hear your sigh of relief. Only John Hughes, a filmmaker who uniquely confirmed the fear of teenagers, was able to include a criminal (Judd Nelson), a princess (Molly Ringwald), a basket case (Ally Sheedy), a brain (Anthony Michael Hall), and an athlete ( Emilio Estevez). put it in a blender and invent something so timeless and magical. These villains, who wouldn’t even look at each other on a typical day, not only have to spend eight hours together, but also learn to understand their differences. Sounds a little bubbly? Not a bit. In fact, John Hughes makes it look effortless to reconcile nervous humor, heavy drama, and even a shot of music video in the same narrative. Since we are stuck inside like these brats, we can relive this classic from the 80s and be inspired to love our differences as they do. After all, as Nelson’s John Bender says: “There is nothing to do when you are in an open position.”
4th Children of men
You have to give it to the British, they’ve been through this kind of homecoming crap before. Think of the flash of 1941 when the Nazis bombed London and its citizens had to hide underground with little food or water for almost a year. The post-traumatic effects of this extreme panic and isolation can be seen in post-war novels Lord of the flies, 1984 and Beautiful new world;; Books about a world that has gone mad from mass hysteria. You can hear it in the music of later generations. When bands like Joy Division shout about an “interzone”, they’re not kidding. Let’s take Alfonso Cuaron’s 2006 adaptation by the British writer PD James Children of men. It’s 2027, women have become mysteriously sterile, and the government is responding with an oppressive new regime. It is up to former activist Clive Owen to help a group of rebels take refuge in the last pregnant woman on earth, and hopefully life goes on. Cuaron’s vision of a social catastrophe is bleak, but full of humor and honesty. Owen is astonishing as a man who was deaf to those around him, but eventually follows the call to do the right thing. Children of men is a great reminder of the humanity that we have to dig up in difficult times.
3rd rear window
So what can you do while holed up in your home indefinitely? Of course you can watch TV and read books, but isn’t it more exciting to spy on your neighbors? Alfred Hitchcock’s fascination for topics such as paranoia, voyeurism and self-doubt reached its peak in 1954 rear window. The professional photographer L.B. is locked in his apartment with a broken leg. “Jeff” Jefferies (James Stewart) spends his time peeking into neighboring apartments with binoculars. Stewart quickly falls into his own rabbit hole when he spies on Lars Thorwald (Raymond Burr), who he suspects has killed his wife. His girlfriend (Grace Kelly) is concerned about his well-being and soon Stewart’s curiosity turns into a destructive obsession. Take away at the moment: stick to reading and watching TV and don’t spy on your neighbors.
2nd The omega man
Sometimes the 1970s version of the Apocalypse is a little sunnier, and that’s certainly welcome at the moment. In the 1971s The omega manCharlton Heston plays Robert Neville, supposedly the last man on earth who not only survived a biological attack and a pandemic, but continues to work on a vaccine. Meanwhile, a population of mutants with bleached faces and monk-like robes rages through the empty streets of Los Angeles to destroy the last remnant of life (Heston – the man who once played Moses). Based on Richard Matheson’s famous short story I am Legend, The omega man is a cool retro-psychedelic journey into science fiction, but also an eerie, grotesque vision of life after the end of the world.
1. The thing
If any film could be a bloody parable of the underlying paranoia caused by a deadly virus, it’s John Carpenter The thing. Kurt Russell is an embodied manhood as the head of a station of Antarctic scientists struggling to stay alive while a parasitic alien picks up every inhabitant and mimics his biological makeup. Carpenter withdraws from exploring the whims of each character just because they could be replicated at any time and he wants us to continue guessing. Rob Bottin’s visual effects (a stomach with teeth, a severed head scurrying across the floor like a spider) are structured to make you wonder why CGI became popular in the first place. Soon, every resident of the station stares at his best friend and wonders if you are infected. The thing is why we’re not going to the office right now.
The crazy ones (1973, 2010), Invasion of the body snatcher (1956, 1978), Dawn of the dead (1978, 2004), The Adromeda tribe, Shaun of the Dead, The glow, 12 monkeys.