Z.P.G. Zero Population Growth. 1972 sci-fi, "Ecoscience - Population, Resources, Environment" book. In a future world on the brink of ecological collapse due to overpopulation, "Z.P.G. Zero Population Growth" (1972) presents a compelling and unsettling vision of a society struggling to control its population. Directed by Michael Campus, the film takes us on a journey into a dystopian future where governments enforce strict policies in a desperate attempt to combat the devastating consequences of unchecked population growth. The story revolves around Carol and Russ McNeil, portrayed by the talented Oliver Reed and Geraldine Chaplin. As a married couple trapped in this oppressive society, they confront the heart-wrenching reality of being denied the right to have children. The government-imposed regulation restricts couples to only one child, with severe penalties for any violation. Geraldine Chaplin's character, Carol, yearns for the joys of motherhood and experiences a deep emotional longing to nurture a child. Oliver Reed's character, Russ, grapples with the suffocating constraints of their existence, questioning the morality and legitimacy of a society that suppresses natural human instincts. Driven by their frustrations, Carol and Russ are drawn towards a clandestine rebellion against the authoritarian regime. They embark on a journey of self-discovery, challenging the status quo and risking everything to defy the oppressive system that dictates their lives. Along the way, they encounter fellow rebels and face numerous obstacles that test their determination and commitment to bring about change. "Z.P.G. Zero Population Growth" artfully explores themes of individual freedom, ethics, and the consequences of uncontrolled population growth. It raises profound questions about the delicate balance between personal desires and the greater good of humanity. Through its powerful narrative, the film highlights the moral and ethical dilemmas inherent in extreme measures taken to address pressing societal issues. The performances of the talented cast, including Don Gordon, Diane Cilento, and Dennis Waterman, bring depth and authenticity to the characters, further immersing the audience in this unsettling world. The film's impressive production design captures the stark contrast between the sterile, technologically advanced environment and the yearning for human connection and vitality. At its core, "Z.P.G. Zero Population Growth" serves as a cautionary tale, compelling viewers to contemplate the consequences of rapid population growth and the complex choices societies may face in their quest for survival. It prompts us to reflect on the urgent need for responsible population management and sustainable resource utilization to ensure the well-being of future generations and the health of our planet. The film's thematic connection with the book "Ecoscience - Population, Resources, Environment" is evident. Written by Paul R. Ehrlich, Anne H. Ehrlich, and John P. Holdren, "Ecoscience" explores the interplay between population growth, resource availability, and environmental sustainability. It delves into the challenges and potential solutions to address these pressing global issues. "Z.P.G. Zero Population Growth" aligns with the book's central concerns, shedding light on the potential consequences of uncontrolled population growth and the need for responsible environmental stewardship. Together, "Z.P.G. Zero Population Growth" and "Ecoscience - Population, Resources, Environment" offer a powerful exploration of the intricate relationship between population, resources, and the environment. They serve as a reminder of the importance of informed decision-making and collective action to create a sustainable future for humanity.

Metropolis. 1927 "Remastered Film from Rediscovered Archives" In the dystopian masterpiece "Metropolis" (1925), directed by Fritz Lang, a mesmerizing and thought-provoking tale unfolds within a futuristic city where stark social divisions prevail. Following its initial release, the film underwent significant truncation and alterations, resulting in the presumption that over a quarter of its content had been lost. However, in a remarkable turn of events in 2008, a nearly complete version of "Metropolis" was discovered in Buenos Aires. Despite the print being heavily damaged and in 16mm format, dedicated efforts were made to reconstruct and restore the missing segments, ultimately establishing the correct sequence of the film's editing. Spanish intertitles were meticulously translated into German, with assistance from censorship cards. Set in a sprawling city of towering skyscrapers and vast underground machinery, "Metropolis" presents a captivating narrative that delves into the profound disparities between the ruling elite and the oppressed working class. The visionary production design by Otto Hunte, Erich Kettelhut, and Karl Vollbrecht brings this dystopian world to life, showcasing a stark contrast between the opulent splendor of the ruling class and the grim industrial landscapes inhabited by the laborers. The film's cinematography, masterfully executed by Karl Freund and Günther Rittau, captures the grandeur and despair of this divided society, utilizing innovative camera techniques and breathtaking visuals that continue to astonish audiences to this day. Complementing the visuals is the hauntingly beautiful score composed by Gottfried Huppertz, which enhances the emotional impact of every scene. At the heart of "Metropolis" lies a tale of rebellion, love, and redemption. The narrative revolves around Joh Fredersen (played by Alfred Abel), the powerful industrialist who rules over Metropolis, and his son Freder (portrayed by Gustav Fröhlich), who becomes captivated by the plight of the working class. Through a chance encounter with Maria (brought to life by the unforgettable Brigitte Helm), a charismatic activist, Freder discovers the harsh reality faced by the laborers who toil tirelessly to keep the city running. As Freder delves deeper into the hidden underbelly of Metropolis, he uncovers a dark secret that could threaten the very fabric of society. The enigmatic inventor Rotwang (played by Rudolf Klein-Rogge) and his creation, a robotic doppelgänger of Maria, further complicate the intricate web of power and deception. With its richly layered narrative, "Metropolis" explores timeless themes of social inequality, the dehumanizing effects of industrialization, and the struggle for unity and compassion in a divided world. This groundbreaking film, based on a novel by Thea von Harbou, remains an enduring testament to the power of visual storytelling and its ability to provoke reflection on the complexities of the human condition. As audiences immerse themselves in the restored and reconstructed version of "Metropolis," they bear witness to a cinematic tour de force that transcends time and continues to inspire generations of filmmakers and audiences alike. archive Wow! Channel

RollerBall 1975 "Rollerball" (1975) is a gripping science fiction sports thriller set in a dystopian future. Directed by Norman Jewison, the film takes place in a world dominated by corporations, where the game of Rollerball has become a brutal spectacle that replaces warfare and promotes complacency among the masses. James Caan delivers a stellar performance as Jonathan E., the superstar player of the Houston team, known for his exceptional skills and rebellious spirit. As Jonathan starts to question the purpose and control of Rollerball, he becomes a threat to the corporate regime. The film features a talented cast including John Houseman as the manipulative corporate executive Bartholomew, Moses Gunn as Jonathan's loyal teammate Cletus, and Maud Adams as the enigmatic and alluring corporate employee Ella. Director Norman Jewison creates a visually stunning and thought-provoking film that explores themes of individuality, corporate power, and the struggle for personal freedom. With intense action sequences, a captivating storyline, and a stellar cast, "Rollerball" is a riveting cinematic experience that challenges societal norms and leaves viewers questioning the boundaries of control and autonomy.

Battleship Potemkin 1925 1925 pdmovies Montage, which was not just Eistenstein's knack but also his life's blood early in his career, is often misused in the present cinema, or if not misused then in an improper context for the story. Sometimes montage is used now as just another device to get from point A to point B. Montage was something else for Eisenstein; he was trying to communicate in the most direct way that he could the urgency, the passion(s), and the ultimate tragedies that were in the Russian people at the time and place. Even if one doesn't see all of Eisenstein's narrative or traditional 'story' ideas to have much grounding (Kubrick has said this), one can't deny the power of seeing the ships arriving at the harbor, the people on the stairs, and the soldiers coming at them every which way with guns. Some may find it hard to believe this was done in the 20's; it has that power like the Passion of Joan of Arc to over-pass its time and remain in importance if only in terms of technique and emotion File:Броненосец «Потёмкин», noaudio.ogv Battleship Potemkin (, ), sometimes rendered as Battleship Potyomkin, is a 1925 silent film directed by Sergei Eisenstein and produced by Mosfilm. It presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers of the Tsarist regime. Battleship Potemkin has been called one of the most influential propaganda films of all time, and was named the List of films considered the best at the Expo 58 in 1958. Plot The film "Battleship Potemkin" is set in June 1905 and follows the crew members of the Russian battleship Potemkin, part of the Imperial Russian Navy's Black Sea Fleet. Divided into five acts, the plot unveils a series of significant events. In Act I, titled "People and Worms," sailors Matyushenko and Vakulinchuk discuss the importance of supporting the revolution within Russia. While anchored near Tendra island, sleeping sailors are disturbed by an officer's aggression towards a comrade. Vakulinchuk delivers an impassioned speech, urging the crew to join the uprising. The next morning, sailors complain about the poor meat quality, covered in maggots. The ship's doctor deems it edible, but the crew chooses to eat bread, water, and canned goods instead. A sailor discovers an inscription on a plate, reflecting on their dire circumstances and shatters it. Act II, "Drama on the Deck," reveals that those who consumed the meat are sentenced to death. However, the firing squad refuses to comply, sympathizing with the sailors. The crew seizes control, killing the officers and throwing the doctor overboard. Act III, "The Dead Man Calls Out," sees the successful mutiny, albeit with casualties like Vakulinchuk, the charismatic leader. Docking at Odessa, his comrades display his body, accusing the authorities of causing his death. The sailors mourn and hail Vakulinchuk as a hero, attracting the attention of the Tsarist police. Act IV, "The Odessa Steps," witnesses the arrival of Tsarist Cossack troops. They ruthlessly shoot unarmed civilians, including women and children. The soldiers appear impersonal and relentless in their brutality. The Potemkin sailors retaliate by firing back, while news spreads of an approaching Tsarist fleet. In Act V, "One Against All," the Potemkin sailors decide to confront the Tsar's fleet. Surprisingly, sailors aboard the Tsarist ships show solidarity and open fire on their comrades. They support the Potemkin's passage, waving the Red flag as a symbol of their political stance. "Battleship Potemkin" presents a gripping allegory for the Russian Revolution of 1905. The film portrays the sailors' struggle for justice and their fight against oppression, highlighting themes of unity, sacrifice, and the unwavering spirit of the people. Cast Aleksandr Antonov (actor) — Grigory Vakulinchuk (Bolshevik sailor) Vladimir Barsky — Commander Golikov Grigori Aleksandrov — Chief Officer Giliarovsky Ivan Bobrov — Young sailor flogged while sleeping (as I. Bobrov) Mikhail Gomorov — Militant sailor Aleksandr Levshin — Petty Officer N. Poltavseva — Woman with pince-nez Konstantin Feldman — Student agitator Beatrice Vitoldi — Woman with the baby carriage