Quels sont les films de SF les plus intelligents ?
Posté : jeu. août 27, 2009 7:48 am
La question a été posée à des auteurs américains.
Voici la réponse de Lucius Shepard :
An intelligent science fiction film must be defined as a cinematic story in which the laws of science are not violated, at least in a silly way.
Well, no. Not necessarily.
Jean Luc Goddard's Alphaville, a dystopian noir-ish tale, set in an imaginary city (Paris in the mid-Sixties), spoofs the genre and plays fast and loose with science yet contains several unforgettable scenes that are purely genre. Though the film would likely be a chore for many genre fans to watch, it remains the seminal film in the sub-genre of Intelligent Science Fiction Films (ISFF), heavily influencing Blade Runner, as well as directors like Kubrick, Wong Kar Wai, etc.
Of course Kubrick's 2001 is the gold standard, and his A Clockwork Orange presents a compelling portrait of a futuristic Britain in decline. Wong Kar Wai's 2046 is an elegy to lost love in which future, past and present blend together and his Fallen Angels, though a non-genre movie, is in my view the film that best captures the cyberpunk ethos. Michael Winterbottom's Code 46 paints a completely believable near-future against which he sets his story of doomed lovers. Alain Resnais' little-seen Je T'aime, Je T'aime is a time travel tale that traps its protagonist inside a time machine and torments him with thoughts and memories from his past. Delicatessen by Mark Caro and Jean-Pierre Juenet is a surreal post-apocalyptic black comedy set in the house belonging to a butcher who provides suspicious meats to his tenants and overlies a world populated by troglydytes who eat only grain. Slava Tsuckerman's Liquid Sky, which played non-stop for three years in Boston, New York and Washington DC, offers a modern fairy tale of aliens and supermodels. Nicolas Roeg's The Man Who Fell To Earth and George Roy Hill's Slaughterhouse 5 are both good translations of novels by Walter Tevis and Kurt Vonnegut. Alex Cox's Repo Man tells the story of Otto, a young guy who enters the repossession business and becomes involved with a mysterious 1964 Chevy Malibu driven by a mad scientist and hunted by government agents. Alex Proyas Dark City is a story about a city controlled by strange alien masters who each night reshape its reality. In Bernard Tavernier's La Mort en Direct, Harvey Kietel plays a man with a camera implanted in his brain who is filming a documentary about a beautiful terminally ill woman. Lar's Von Trier's The Element of the Crime reimagines the detective story in a near future environment and is notable for its gorgeous visuals. Duncan Jones' Moon, a film about the costs of utopia and what it means to be human. Brazil, Alien (essentially a horror story), Tsarkovsky's Stalker, Alex Nicol's Gattaca...the list goes on. There are more, but these are a few of my favorites.
Voici la réponse de Lucius Shepard :
An intelligent science fiction film must be defined as a cinematic story in which the laws of science are not violated, at least in a silly way.
Well, no. Not necessarily.
Jean Luc Goddard's Alphaville, a dystopian noir-ish tale, set in an imaginary city (Paris in the mid-Sixties), spoofs the genre and plays fast and loose with science yet contains several unforgettable scenes that are purely genre. Though the film would likely be a chore for many genre fans to watch, it remains the seminal film in the sub-genre of Intelligent Science Fiction Films (ISFF), heavily influencing Blade Runner, as well as directors like Kubrick, Wong Kar Wai, etc.
Of course Kubrick's 2001 is the gold standard, and his A Clockwork Orange presents a compelling portrait of a futuristic Britain in decline. Wong Kar Wai's 2046 is an elegy to lost love in which future, past and present blend together and his Fallen Angels, though a non-genre movie, is in my view the film that best captures the cyberpunk ethos. Michael Winterbottom's Code 46 paints a completely believable near-future against which he sets his story of doomed lovers. Alain Resnais' little-seen Je T'aime, Je T'aime is a time travel tale that traps its protagonist inside a time machine and torments him with thoughts and memories from his past. Delicatessen by Mark Caro and Jean-Pierre Juenet is a surreal post-apocalyptic black comedy set in the house belonging to a butcher who provides suspicious meats to his tenants and overlies a world populated by troglydytes who eat only grain. Slava Tsuckerman's Liquid Sky, which played non-stop for three years in Boston, New York and Washington DC, offers a modern fairy tale of aliens and supermodels. Nicolas Roeg's The Man Who Fell To Earth and George Roy Hill's Slaughterhouse 5 are both good translations of novels by Walter Tevis and Kurt Vonnegut. Alex Cox's Repo Man tells the story of Otto, a young guy who enters the repossession business and becomes involved with a mysterious 1964 Chevy Malibu driven by a mad scientist and hunted by government agents. Alex Proyas Dark City is a story about a city controlled by strange alien masters who each night reshape its reality. In Bernard Tavernier's La Mort en Direct, Harvey Kietel plays a man with a camera implanted in his brain who is filming a documentary about a beautiful terminally ill woman. Lar's Von Trier's The Element of the Crime reimagines the detective story in a near future environment and is notable for its gorgeous visuals. Duncan Jones' Moon, a film about the costs of utopia and what it means to be human. Brazil, Alien (essentially a horror story), Tsarkovsky's Stalker, Alex Nicol's Gattaca...the list goes on. There are more, but these are a few of my favorites.
