It’s the end of the 20th century and the world is in all sorts of environmental and geopolitical turmoil. Environmentalist Dr. Ryogen Nishiyama has become convinced, with the prophecies of French scholar Nostradamus as his guide, that the world may be coming to an end. Nishiyama desperately tries to warn Japan’s politicians that ecological disaster is swiftly approaching, but no one listens. Soon disasters begin to take place across both Japan and the world. Children develop strange abilities after drinking water from a zinc mine. As climate change worsens, snow falls on Egypt, drought plagues Africa and flooding swamps the Midwestern US, ruining its crop belt. Meanwhile, an expedition sent to New Guinea to investigate some strange natural phenomena after a nuclear test in the area has gone missing. Nishiyama along with his daughter’s fiancée Akira Nakagawa go to New Guinea in search of the missing party and what they find is truly horrific. Later, SST jet disasters split open the ozone layer and because of worldwide food shortages Japan’s government is forced to put its citizens on a rationed diet, which causes violent rioting and looting to break out while young people commit suicide in large numbers. Nishiyama goes before the Japanese parliament to warn them on the disasters that soon befall both Japan and the world. But will they listen to him this time? In 1974, Toho Films released the film "Nosutoradamusu no daiyogen", known internationally as Prophecies of Nostradamus, The Last Days of Planet Earth, and Catastrophe: 1999. Despite it's box-office success, the film had a tumultuous public life due to the controversial nature of various sequences, notably the climax which depicted the mutated survivors of a nuclear war. Additionally the New Guinea sequence also drew criticism in Japan for its depiction of radiation sickness. Hibakusha advocates (Hibakusha meaning "person affected by a bomb" or "person affected by exposure [to radioactivity]," the term used to describe the Japanese who survived the bombing of Hiroshima and Nagasaki,) decried the film for its insensitive handling of the paranoia and stigma around radiation sickness, leading Toho to impose a self-ban on the film. Because of this, it has never been officially released in full to the home video market, with the longest VHS version running 88 minutes as opposed to the 114 of the original. However, due to the efforts of various fans and film preservationists, more complete versions have been able to find there way onto the internet. This UPA TV broadcast is sourced from the Paramount VHS and was the only legal way to view this film for many years. For more history: https://crypt.mosura.dk/nostradamus/about/ CAST: Tetsuro Tanba ... Dr. Ryogen Nishiyama/Genkei Nishiyama/Gengaku Nishiyama Toshio Kurosawa ... Akira Nakagawa Yoko Tsukasa ... Nobuo Nishiyama Kaoru Yumi ... Mariko Nishiyama Kaori Taniguchi ... Orin Yoshiro Aoki ... Military Police Masaru Ryuzaki ... Oone Katsuhiko Sasaki ... Yoshihama Shosei Muto ... Ihara Jun Hamamura ... Kida Kumeko Otowa ... Mrs. Kida Tomoe Mari ... Kida’s daughter Tappei Shimokawa ... Captain of Self Defense Force Akihiko Hirata ... Botanist Hiroshi Koizumi ... Zoologist So Yamamura ... Prime Minister Mizuho Suzuki ... Director of Environmental Agency Taketoshi Naito ... Chief Cabinet Secretary Sayoko Kato ... Bus Girl Mikizo Hirata ... Sanji Nakagawa Tatsuo Nakamura ... Katsuko Nakagawa Takashi Shimura ... Hospital Director Masahiko Tanimura ... Tayama Kazuko Inano ... Hamako Kazuo Kato ... Scholar George F. Flymm ... US Representative Willie Dorsey ... African Representative Franz Gruber ... Dr. Wilson Tony Cetera ... Research Scientist Rolf Jesser ... Research Scientist #2 Osman Yusuf ... Research Scientist #3 Isamu Sugii ... Soft-Bodied Human Nobuyuki Nakano ... Soft-Bodied Human #2 Shunsuke Kariya ... Leader of Rioters Goro Naya ... TV Newscaster Kyoko Kishida ... Prophetess, voice Shinji Nakai ... Narrator, voice CREW: Producers: Tomoyuki Tanaka, Osamu Tanaka Director: Toshio Masuda Special Effects Director: Teruyoshi Nakano Screenplay: Yoshimitsu Banno, Toshio Masuda, Toshio Yasumi, and Ben Goto Second Unit Director: Yoshimitsu Banno Cinematographers: Rokuro Nishigaki, Kaoru Washio Music: Isao Tomita Editor: Nobuo Ogawa Assistant Director: Fumisake Okada Art Director: Yoshiro Muraki Lighting: Shinji Kojima Sound Recording: Kanae Masuo Production Manager: Hisayuki Murakami SFX [ Assistant Director: Koichi Kawakita Cinematography: Mototaka Tomioka, Takeshi Yamamoto Art Director: Yasuyuki Inoue Lighting: Masakuni Morimoto Unit Production Manager: Keisuke Shinoda Optical Photography: Takeshi Miyanishi Still Photographer: Kazukiyo Tanaka ] VFX Opticals: Yoshio Ishii Monster Design (Soft-Bodied Humans): Toru Narita Stunts: Chihiro Mitsuishi Choreography (Dance): Kiyohiko Kawanishi Still Photographer: Yoshinori Ishitsuki

Sadie T. Benning (born April 11, 1973) is an American artist, who has worked primarily in video, painting, drawing, sculpture, photography and sound. Benning creates experimental films and explores a variety of themes including surveillance, gender, ambiguity, transgression, play, intimacy, and identity. They became a known artist as a teenager, with their short films made with a PixelVision camera that have been described as "video diaries". Included works: A New Year (1989): Sadie Benning’s first film. A version of the teenage diary, Benning places her feelings of confusion and depression alongside grisly tales of tabloid headlines and brutal events in her neighborhood. Living Inside (1989): When she was 16, Benning stopped going to high school for three weeks and stayed inside with her camera, her TV set, and a pile of dirty laundry. Living Inside mirrors her psyche during this time. With the image breaking up between edits, the rough quality of this early tape captures Benning’s sense of isolation and sadness, her retreat from the world. Me and Rubyfruit (1989): Interpretation of Rita Mae Brown’s groundbreaking lesbian coming-of-age novel Rubyfruit Jungle. If Every Girl Had A Diary (1990): Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning’s anger and frustration at feeling trapped by social prejudices. Jollies (1990): Benning gives a chronology of her crushes and kisses, tracing the development of her nascent sexuality. A Place Called Lovely (1991): “Nicky is seven. His parents are older and meaner.” A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children’s games (like mumbledy-peg), personal experiences, and those of others. Throughout, Benning uses small toys as props and examples—handling and controlling them the way we are, in turn, controlled by larger violent forces. It Wasn’t Love (1992): The narration and intertitles describe the ultimate teenage fantasy road-trip: a female version of Bonnie and Clyde in love, in trouble, and unstoppable. With dreams of freedom, a life of crime, and the glamour of Hollywood, the film depicts the ultimate wish list of the lesbian bad girl whose life is not only constrained by school and parents, but also by the fear of a world that cannot tolerate her difference. Girlpower (1992): Set to music by Bikini Kill (an all-girl band from Washington), Girl Power is a raucous vision of what it means to be a radical girl in the 90s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground “riot grrrl” movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.

Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media. Sidewinder's Delta (1976) Saugus Series (1975) Downwind (1973) Foregrounds (1979) Runs Good (1971)

Description: Following a 19th-century play penned by Benjamin Antier, the figure of Robert Macaire, bandit and rogue, enjoyed popularity in several contexts. One of the most detailed treatments may be found in Epstein’s LES AVENTURES DE ROBERT MACAIRE, which he executed in five interrelated episodes. CAST: Jean Angelo ... Robert Macaire Suzanne Bianchetti ... Louise de Sermèze Marquisette Bosky ... Jeanne - la fille de Robert Lou Dovoyna ... Victoire (as Lou Davy) Maximilienne ... La fermière (as Maximilienne Max) Niblia ... Eugénie Mouffetard (as Mlle. Niblia) Alex Allin ... Bertrand Camille Bardou ... Verduron Nino Constantini ... René de Sermèze Gilbert Dulong ... Marquis de Sermèze (as Sacha Dulong) François Viguier ... Baron de Cassignol Jean-Pierre Stock ... Vicomte de la Ferté Jules de Spoly Alexej Bondireff Dulcart ... Fiancée de René de Sermèze(uncredited) René Ferté ... M. de Valecure (uncredited) CREW: DIRECTOR Jean Epstein WRITER Charles Vayre CINEMATOGRAPHY Nikolas Roudakoff and Paul Guichard