Set in the futuristic landscape of Los Angeles on July 4, 2008, as it stands on the brink of social, economic and environmental disaster. Boxer Santaros is an action star who's stricken with amnesia. His life intertwines with Krysta Now, an adult film star developing her own reality television project, and Ronald Taverner, a Hermosa Beach police officer who holds the key to a vast conspiracy.
Dwayne Johnson Seann William Scott Sarah Michelle Gellar Justin Timberlake Mandy Moore Will Sasso Jon Lovitz Beth Grant Jill Ritchie Bai Ling Lisa K. Wyatt Curtis Armstrong Todd Berger Rebekah Del Rio Nora Dunn Christophe Lambert John Larroquette Janeane Garofalo Abbey DiGregorio Cheri Oteri Amy Poehler Miranda Richardson Wallace Shawn Sab Shimono Kevin Smith Robert Benz Joe Campana Chris Andrew Ciulla Aaron Dillar Show All…
Bo Hyde Matthew Rhodes Sean McKittrick Kendall Morgan Christa Vausbinder Wolfgang Schamburg Dara Weintraub Ernst-August Schnieder
Al Goto Tanoai Reed Tim Trella Anita Hart Shawn Robinson Chris Palermo Rex Reddick Alisa Hensley Shawn Patrick Lane Edward Conna Hank Amos Kenny Alexander Brian Avery Wendi Bromley Debbie Evans Tom Elliott Michael Gilden Darin Fujimori Mike Justus James M. Halty Dennis Keiffer Lane Leavitt Luke LaFontaine Matt McColm Angela Meryl John C. Meier Troy Robinson Christopher J. Tuck Scott Workman Danny Wynands Joanna Shelmidine Michael Runyard Doc Duhame Norm Compton Mic Rodgers Suzanne Reed Dakota Mitchell Jesse Jam Miranda Stuart F. Wilson Paul M. Lane Boni Yanagisawa Thom Williams James Ryan
Chris David Christopher Eakins David Esparza Marshall Garlington Stuart Provine Steve Schatz Lisa Varetakis Mandell Winter
Anna Fleiner Louis Lazzara Ermahn Ospina Veronica Lorenz David DeLeon Danielle Noe Laverne Caracuzzi Christian Beckman
Cherry Road Films Darko Entertainment MHF Zweite Academy Film Academy Film Destination Films Inferno Distribution Wild Bunch
Las horas perdidas, Сказки юга, Southland Tales - Così finisce il mondo, O Fim do Mundo, Apokalypsa, 南方传奇, A káosz birodalma, סיפורי סאות'לנד, Southland Tales: O Fim do Mundo, Kıyamet Öyküleri, Ιστορίες από το Τέλος του Κόσμου, Koniec świata, Казки півдня, 사우스랜드 테일, サウスランド・テイルズ, Las Horas Perdidas, หยุดหายนะผ่าโลกอนาคต
France
Cannes Film Festival
USA
Fantastic Fest
USA
AFI Fest
USAR
Ireland16
UK15
Canada14A
USAR
Finland
Norway15
Sweden15
Argentina+16
AustraliaMA 15+
Brazil16
Spain
Italy
France12
Argentina
Australia
Brazil
Canada
Finland
France
Ireland
Italy
Norway
Spain
Sweden
UK
USA
The price of true prophecy is madness and catastrophe. This film is prophecy. A movie within a movie within a movie that we are all inside of dreaming of one another simultaneously. The single greatest Philip K Dick adaptation that's not based on any of his books. A radiant mess the director flew too close to and was cast down back to Earth for. The drug-induced, death dream of a Fallujah-scarred veteran that conjured the world we are living in today. Friendly fire, friendly fire, friendly fire.
The resurgence of Marx and the Antichrist, the merging of celebrity and pornography, an omnipresent bipolar surveillance state comprised of both shady government agencies and 24/7 personal streaming, racist police murders on viral…
"Join us for an in-depth discussion of the penetrating issues facing society today... Issues like abortion, terrorism, crime, poverty, social reform, quantum teleportation, teen horniness, and war."
This played in theatres 10 years ago and people were still surprised by president Trump
I've said before that this is the best film of its decade, and I stand by that statement. Yes, some of the magic has dulled by this viewing (I've seen it some 30 or forty time in the five years since it's release) but it still stands above its peers as an utter masterpiece.
Last month I saw the documentary Room 237, an examination of The Shining. One of the points that film made was in the care devoted to the set design by Kubrick, to the point where they show pictures of him hand-placing each can on the shelves in the food stores. The general idea is that that care to even the smallest of details is what set…
There never has, and never will be, a more “post-9/11” movie. Definitely more in the “I like this” camp than the “too incomprehensible” camp, but I see both sides. Feels like the movie you get if a veteran took the Wachowskis to task for their violence and they really internalized the criticism, and then made Mullholland Drive. Some of the worst keying I’ve ever seen but that’s not a dig, I’m sure it was an unfortunate limitation, the budget in this is stretched very well! (Cannes Cut)
~THE CANNES CUT~
Q&A Moderator: So this movie is very prescient, is that something you intend or...?
Cinematographer: Well, I remember when we were making Donnie Darko, producers were telling us "there's no way a jet engine just falls off a plane, that's implausible". And then, while we were shooting, a news story came out of an engine falling out of an airplane in the middle of the Pacific. [To Kelly] So your work just seems to have that way of predicting the future [chuckles]
Richard Kelly: I'm gonna write a movie where everyone falls in love and has a happy ending.
Everyone: [laughs]
Kelly: [laughs/cries]
if Don’t Look Up went hard in the paint….
respect to anyone who steals the Llorando scene from Mullholland Drive…
crazy that i watched this movie mere minutes after finishing VALIS… 🤯
never thought i’d say this but…. moby tore it…
(Cannes cut)
"All the Pilgrims did was ruin the American Indian orgy of freedom."
People when praising Southland Tales often talk about how it is prescient, but part of what remains so valuable about it was what has always been: how agressive 2006 it all is from The Killers to The Rock at his wannabe Schwarzenegger peak having sex with Buffy while Stiffler ascends to heaven while as much fictional variation on Bush II era stuff can be throw away at the screen to see what it sticks. All three Kelly features are pop historical phantasmagorias set around the twlight of the last three major Republican presidencies and obsessed with finding cosmic fiction ways to process national trauma. The one…
"Scientists are saying the future is going to be far more futuristic than they originally predicted."
This is it. This is it right here. A throwaway line from a porn star now running a reality show, yet a key to understanding the film as a whole.
Southland Tales is a film about the future, but not just any future; no, it is about the future when it becomes warped and twisted by our perceptions of what the future should look like along with what the future will likely be and how our collective outlook moulds that final picture. The outcome? A cutting-edge society that has learned how to harness things such as ocean waves for perpetual motion machines that result…
this is like if hideo kojima directed a prequel to escape from LA and it was written by seth macfarlane
UPDATE: This became this book . The published went under but contact me by email for e-version.
Revisited this for my thesis on apocalyptic narratives and film noir. This film currently takes up an entire chapter. Since I finished my draft tonight, here's a small excerpt from that:
If we can identify a discourse that Kelly appears to be working through, I would argue his main point is saturation. Like the way low culture overtakes high culture in Kiss Me Deadly, it is that there is simply too much culture and images to handle, here in the form of an all media event. Steven Shaviro notes, “Properly cinematic images are intermixed with a barrage of home video footage, internet and…
