Sometimes I really hate being a stupid American (meaning only knowing one language). France seems intent on punishing US cyberpunk fans by putting out a number of great French cyberpunk flicks and then not getting them released here in the US (yes, I’m being facetious - it seems that most great recent foreign Sci-Fi films can’t even get DVD deals here until years after their release). Potentially, we have another one called Chrysalis, directed by Julien Leclercq, which Vesper posted on the Meatspace Forums. Unfortunately for me, the film makers don’t want to waste their time translating information about the film into English. I did take this site into Babelfish and extracted a few interesting tidbits:

The action proceeds in Paris, in 2025. The body of an immigrant young person is found with strange scratches around the eyes. David is in charge of the investigation. In the heart of the private clinic high-tech of professor Minkowski, Manon, his daughter, raises the same scratches. To the sides of his assistant Marie Becker, David will have to establish the bond between these two universes. Believing to go up the wire of a vast traffic of bodies, David will actually find itself in search of his own memory.

Is the film described like a futuristic whodunnit and lorgne openly towards the science fiction - if one omits some exceptions which dared musarder towards this kind like Enki Bilal and Pierre Jolivet, it remains which? Before deciding, it will have to be seen how the scenario writer will negotiate the turn of what is announced at the beginning as a police investigation broken with the commonplaces to a metaphysical giddiness which should take along the spectator in unknown destinations (one has a presentiment of a business of handling and identity disorder but otherwise more interesting than Rene Manzor and Dédales, thank you well). The least which one can say, it is that Chrysalis dares to attend the kind if not very frequentable in the Hexagon cinema known as of kind. With regard to the casting, one should find, in addition to essential Albert Dupontel, Marthe Keller, Melanie Thierry and Marie Guillard.

Enki Bilal of course provided us with the Nikopol Trilogy graphic novel and Immortel. Here’s the trailer, which certainly looks cyberpunkish…(go here for a larger widescreen trailer):

Here’s where I hope some cool French speaking dude or chick will take pity on me and do some research to give me the low-down on this movie (Please!). I’ve already come to grips with the fact that it won’t be getting a US release this year (or ever), so I’ll be getting my copy on Ebay, just as I did Renaissance and Immortel (no, US distributors, I’m not planning to wait for your lame asses to get around to giving me a legit R1 copy - release it when everyone else gets it if you want me to pay YOU for it).

In 1998, as part of its 100th anniversary, the American Film Institute presented a list of the top 100 American movies of all time based on factors such as box office success, film making innovations, and cultural impact. Films like Star Wars and The Wizard of Oz made it with Citizen Kane as #1, while Blade Runner was left out. Now, on the tenth anniversary of that list, the AFI counted them down again on CBS. This time around, Blade Runner was joined by 1999’s cyberpunk-action-blockbuster The Matrix as eligible candidates for the big list. With The Matrix Trilogy out on HD-DVD and Blade Runner - Final Cut later this year, fans would love to see both movies on this list, though judging by my informal poll, more would want to see Blade Runner make it. You asked for it, you got it!

BLADE RUNNER - # 97

The venerable cyberpunk classic made it! It barely made it, but it’s on the list! I know many would have preferred to see it higher, like top ten, but just getting on the list is a major accomplishment in itself, as now it can stand along side movies like Star Wars and Citizen Kane as a great American film. If you were watching, you would have heard Harrison Ford (Deckard) call it “urban science fiction” and even seen a commercial for the Final Cut edition. Replicants and sympathizers, rejoice!

A CLOCKWORK ORANGE - # 70

The Stanley Kubric classic makes a return to AFI’s big list. This masterpiece of pre-cyberpunk cinema has been warping minds since its release in 1971 when it nearly got an X-rating for its content. If you have the DVD, you have the full X-rated version of the gem.

While A Clockwork Orange still being on the list will come as good news, there is some bad news for the classic: It has fallen from #46 since the first listing, beaten out by films like The Lord of the Rings: The Fellowship of the Ring.

What? No Matrix??: The impact of these films on cyberpunk cannot be denied and deserve a place on the list; Blade Runner giving cyberpunk its look and feel and its transhuman themes, while The Matrix gave mostly technical innovations like “bullet time” that will be copied for years to come, but it also offered cyber-religious themes as pointed out in SFAM’s essay on The Matrix Trilogy: A Man-Machine Interface Perspective. I was certain that The Matrix would have made the list, but it seems the “experts” didn’t feel that it was good enough.

Some might question why films like The Terminator and Terminator 2: Judgment Day, Ghost In The Shell, and Sneakers haven’t made the list. The AFI represents American film makers, so GITS is not considered (it’s Japanese); Sneakers, while a good film, hasn’t had much impact on culture so much as reflecting hacker culture at the time; The Terminator movies, probably because the AFI doesn’t consider action movies “artistic” enough for such a list of legends.

Future AFI Lists and Cyberpunk Films: Certainly, there will some controversy over the results; Why The Matrix didn’t make it and why Blade Runner came in so low. In ten years AFI will do the list again, and maybe the cyberpunk films will get the recognition they deserve… and could possibly include Neuromancer as well. Hopefully, there will be enough recognition of cyberpunk films by the “experts” to give the genre its due.