Cinema of Jimaria: Difference between revisions
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→Ulni Jark (2456 - Present)
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===== ''TNW-2574 (2475)'' =====
A science fiction film about a post-apocalyptic dystopian government, lacks a conventional narrative structure and rather serves primarily focused on exploring the setting. Renowned for its editing and cinematography, despite its average acting and minimal dialogue. Screened initially at the University of Jara, after being voted the class's best film, the University negotiated with select theaters for the picture to receive a limited theatrical release, where it's praises continued.
===== ''Against the Dying of the Light (2481)'' =====
A Sci-Fi film about a planet in a solar system with 6 suns, in an orbit such that, at any given time, at least one sun is shining on all sides of the planet. Long believed to be the only planet in their solar system, scientists on the world discover that there is another, usually obscured from view, but which during a point of the year where the planet only has two suns in the sky, will eclipse one of them, giving the planet a night for the first time in thousands of years... exactly when an ancient prophecy said the world would end. The film ends with the sun setting, the eclipsed sun rising, and the protagonist staring into the night sky for the first time, seeing thousands of stars, and shooting himself in the head as reports on the radio come in of the collapse of the nations on the other side of the world.
Jark's first production out of film school, and one of United Studio's earliest productions. Considered generally to be the most thoughtful of his works, focusing on themes such as the unknown and the relationship between religion and science. Like many of his works, renowned for its worldbuilding.
===== ''Jara 2600 (2496)'' =====
Tells the story of a robot uprising against mankind, or more specifically, the tail end of that conflict, where a detective is hunting down one of the last cells of remaining bots in Jara. Like most of Jark’s films, the sci-fi setting is a backdrop to the social commentary, in this case, about what it even means to be human.
The film is very psychological, and draws on noir elements from older films. The film was renowned for it's CGI, opening with a spaceship landing back in Jimaria. The Jara of the film is dominated by advertising, mega corporations, giant buildings, and other such things, which really set it apart from other popular science fiction.
Proved popular with both general audiences and critics, and turned a large profit for United Studios. A sequel would be released 24 years later, ''Jara 2689,'' featuring the son of ''2600'''s protagonist tied up in a conspiracy with a new generation of robots.
===== ''The Majestics Trilogy (2503, 2504, 2508)'' =====
Adaptations of the [[Prodij Universe|Prodji]] comics characters, the three ''Majestics'' films tell the story of the superhero family, reimagined to take place in Jimaria instead of the [[High Kingdoms of Alaxia|HKA]]. The first film tells the origin of the family and their powers, and their triumph over a corrupt businessman. The sequel focuses in on the character of Glass, eldest child of the family, who has become a spy working in [[Erdelicht]]. When he finds himself outmatched by a team of six superpowered enemies, Glass calls his family for help, which ends up forcing his father to sacrifice himself to save millions. The final film in the trilogy centers on the character of Ruby, and features the return of the original film's villain, before his final defeat.
The trilogy was a financial and critical success, with the initial movie performing the best, despite some controversy around adaptational changes, it is fondly remembered by fans, though Jark himself has said he wished he included more of the social and political commentary which characterized his earlier projects.
The second proved controversial, with mixed reviews and criticisms for it's focus on only one of the four family members, and the film's use of real-world political events for the setting. It made less money than its predecessor in theaters, which some have speculated contributed to the mess of a production that was the third film in the series.
The conclusion of the trilogy was originally set to release in 2506, however, a series of rewrites and reshoots eventually lead to a two year delay. It received more positive reviews than the second, but only turned a small profit.
==== Filmography ====
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===== ''Pop Culture (2499)'' =====
Written non linearly, featuring a number of stories; a pair of bank robbers, some gangsters, a football player, and the gang boss’s daughter. While not the first non-linear movie ever released, it is one of the first to become really popular, and features a number of iconic lines and moments that make their way into the cultural consciousness of Jimaria.
Turned a big profit on a small budget for United Studios, beginning a long and shaky relationship between Tharn and the company.
===== ''Expedition: 2411 (2511)'' =====
Set during the [[The Great War|Great War]], the film tells the story of the early days of the Jimarian Expeditionary Force as part of the [[Fazar|Fazarian]] Army. Specifically, it tells the story of a squad of Jimarian soldiers battling against [[Solan|Solanese]] troops in the summer of 2411, during some of the war's harshest fighting.
The film is more of a dark comedy than the dramas typical of war films, and manages to prove a respectable success among critics and at the box office. Tharn has said he wished the film received a Jimarian winter release, to coincide more closely with the 100th anniversary of the events which inspired the work, which took place in the Northern Hemisphere, but United Studios insisted on a summer release in January.
==== Filmography ====
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===== ''Hate (2509)'' =====
The film follows a trio of characters in mid-90s Cealisis, all lower-class people in their early 20s, a Nagani woman, a Human man from a Tushinmeroan immigrant family, and a Newel man; all friends of a man murdered in a police shooting. They explore the city together in the aftermath of a riot, hanging out in the poorer regions and inspecting some of the buildings damaged in the riot, before they’re reminded by an officer about trespassing laws, though he lets them off with just a warning. By nightfall, the three have reached a wealthier part of the city, sneaking into an art gallery and commenting on the pieces. Here it is revealed that, in the riot, the Tushinmeroan stole a gun from a riot policeman, and intends to shoot a cop in revenge, which the Newel man protests, saying that more death doesn’t accomplish anything. When the police are called on the trio over a misunderstanding with the Newel man, they have to make a run for it, trying to make it back home. Once they’ve lost the police, they find themselves in a back alley, encountering a gang of fascists. They get into a fist fight, and eventually the Tushinmeroan has one of the fascists at gunpoint. The Newel guy says to him, “Well? Are you going to do it or not? There’s good cops out there, but these guys? They’re all bad.” And the Tushinmeroan lowers the gun, he can’t kill someone. He vows to turn the weapon in the next morning, once the heat is off, and the trio make their way home. But as the trio walk away, we see the fascist pull out a cell phone and call the police. Just as they arrive home the next morning, the cop chasing them earlier catches up to them. The police shoot the Newel man instantly, and the Tushinmeroan returns fire. Hard cut to black.
The film does very well critically, many critics praising the nuance with which it handles a sensitive topic. As some critics point out though, it never really takes a stance on the core issue of Newel autonomy from the Federal Government, particularly in education.
The film was produced directly by Ssalrak Kulraine, who was so impressed with the brother's earlier work, he agreed to finance whatever they wanted to make next.
==== Filmography ====
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