Akira Kurosawa’s THRONE OF BLOOD (as I like to think of it, Michael Fassbender’s favorite Macbeth) is a meticulous, engrossing, and beautiful work. It was created at a time in 1957 where cinema still had a great deal of constraints, but also at a time where Kurosawa had honed his square-frame black-and-white film technique to perfection. There are shots in Throne of Blood which I haven’t seen done with as much skill and artistry in any other film.
This IMDB review of Alejandro Jodorowsky’s THE HOLY MOUNTAIN says “If you liked ‘The Wall’ (you know, the Pink Floyd movie), but thought it was a bit of a downer and suffered from the lack of a fat woman humping an excitable, legless, animatronic horse, this movie could be for you” which may be a little flip but not entirely wrong description of what to expect from this film.
Oh boy, SUSPIRIA. A prime example of the “cheesy horror movies so
well crafted that they can be considered art films” genre. I can’t even
remember what first added it to my queue, but I do remember seeing references
to it in a crazy 2010
playthough of the SNES game Clock Tower
which led me to the following reasoning:
- Clock Tower is an insanely weird, horrific, and beautiful game.
- Clock Tower cribs scenes directly from Suspiria.
- Therefore, Suspiria must be even more weird, horrific, and beautiful than Clock Tower.
I’ve recently been working on an update to the
twodee library we use for Ludum Dare
games. One (of many) areas I’ll be focusing on is speeding up text rendering.
Text is currently very slow because we have to create and bind a new texture,
render glyphs to it, then draw geometry for each piece of text in a scene.
One simple optimization is to pack frequently-used text into a single texture
which will remove many (expensive) texture binds.
Packing a bunch of rectangles into a texture isn’t the easiest
thing to do well. There’s a whole class of algorithms dealing with this
“bin packing” problem, each with various tradeoffs. Luckily, I found
a very useful paper
covers many of these algorithms (thanks Jukka Jylänki!).
To get a feel for how well each of them perform, I decided to implement a few in
There’s a point early on in Andrei Tarkovsky’s STALKER where the Stalker, the Professor, and the Writer have snuck past a military blockade, dodged bullets and ridden a railway work car for a few silent minutes of screen time. The film switches from sepia to color - they have entered The Zone, a mysterious alien-touched segment of the world. “We are home” Stalker says. “It is so quiet out here, it is the quietest place in the world.”