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Fantastic Planet (1973) is psychedelic sci-fi like nothing else. Laloux & Topor animated the film using cutout techniques inspired by Czech stop-motion, giving every frame that dreamlike drift. A political allegory that still feels alien fifty years later.

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733,002 views • 10 months ago •via X (Twitter)

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“Les Escargots” (1966) is a surreal animated short film by French director René Laloux and artist Roland Topor, the same creative duo behind the cult classic Fantastic Planet (La Planète sauvage, 1973) 👽 Known for its dark humor and distinctive visual style, the film tells the bizarre tale of a farmer whose experimental methods lead to the growth of giant snails that wreak havoc on a city 🐌

“Les Escargots” (1966) is a surreal animated short film by French director René Laloux and artist Roland Topor, the same creative duo behind the cult classic Fantastic Planet (La Planète sauvage, 1973) 👽 Known for its dark humor and distinctive visual style, the film tells the bizarre tale of a farmer whose experimental methods lead to the growth of giant snails that wreak havoc on a city 🐌

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Dune (1984) gets written off, even by Lynch, but the film’s worldbuilding is doing its own thing. Baroque sets, strange textures, and a future that feels alien in a way few sci-fi films even attempt. It’s rough, but there’s nothing else like it.

Dune (1984) gets written off, even by Lynch, but the film’s worldbuilding is doing its own thing. Baroque sets, strange textures, and a future that feels alien in a way few sci-fi films even attempt. It’s rough, but there’s nothing else like it.

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Time Masters (1982), directed by René Laloux, is a French animated sci-fi film known for its surreal visuals designed by iconic artist Mœbius ✨ The story follows a young boy named Piel who is stranded on a dangerous alien planet after his parents are killed. While he tries to survive, a group of space travelers races across the galaxy to rescue him, uncovering strange worlds and deep mysteries along the way 👽 A cult classic in European animation, it blends space adventure with philosophical undertones. If you liked Fantastic Planet, this one’s a must-watch 🍿

Time Masters (1982), directed by René Laloux, is a French animated sci-fi film known for its surreal visuals designed by iconic artist Mœbius ✨ The story follows a young boy named Piel who is stranded on a dangerous alien planet after his parents are killed. While he tries to survive, a group of space travelers races across the galaxy to rescue him, uncovering strange worlds and deep mysteries along the way 👽 A cult classic in European animation, it blends space adventure with philosophical undertones. If you liked Fantastic Planet, this one’s a must-watch 🍿

Heavy Metal

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Time Masters (1982), directed by René Laloux, is a French animated sci-fi film known for its surreal visuals designed by iconic artist Mœbius ✨ The story follows a young boy named Piel who is stranded on a dangerous alien planet after his parents are killed. While he tries to survive, a group of space travelers races across the galaxy to rescue him, uncovering strange worlds and deep mysteries along the way 👽 A cult classic in European animation, it blends space adventure with philosophical undertones. If you liked Fantastic Planet, this one’s a must-watch 🍿

Time Masters (1982), directed by René Laloux, is a French animated sci-fi film known for its surreal visuals designed by iconic artist Mœbius ✨ The story follows a young boy named Piel who is stranded on a dangerous alien planet after his parents are killed. While he tries to survive, a group of space travelers races across the galaxy to rescue him, uncovering strange worlds and deep mysteries along the way 👽 A cult classic in European animation, it blends space adventure with philosophical undertones. If you liked Fantastic Planet, this one’s a must-watch 🍿

Heavy Metal

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There’s something about early-80s animation that just can’t be recreated today—the grain, the grit, the handmade feel in every frame. It was imperfect in the best possible way, alive with style, attitude, and an artistic freedom that feels almost rebellious now. ✨ Heavy Metal (1981) is the perfect time capsule of that era: an animated cult classic directed by Gerald Potterton, weaving together sci-fi, fantasy, rock, and surrealism into a wild anthology inspired by the pages of Heavy Metal magazine. 🚀🔥

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I can't stop thinking about this AI sci-fi film called Pomegranate by Gossip Goblin. It's about a future where people can buy and experience entire lifetimes through a machine. Such a great premise, and one that really takes advantage of what AI makes possible. What really stood out are the visuals. Every frame feels like a moving Pinterest board I wanted to bookmark. And if you watch all the way through, the fourth ‘Pomegranate session’ is something special. It's a beautiful reflection on the cycle of life that just left me sitting there thinking.. just wow. Huge props to the Gossip Goblin team. This is truly a masterpiece and one that left me feeling incredibly inspired. See the full film in our AI Film Gallery here:

I can't stop thinking about this AI sci-fi film called Pomegranate by Gossip Goblin. It's about a future where people can buy and experience entire lifetimes through a machine. Such a great premise, and one that really takes advantage of what AI makes possible. What really stood out are the visuals. Every frame feels like a moving Pinterest board I wanted to bookmark. And if you watch all the way through, the fourth ‘Pomegranate session’ is something special. It's a beautiful reflection on the cycle of life that just left me sitting there thinking.. just wow. Huge props to the Gossip Goblin team. This is truly a masterpiece and one that left me feeling incredibly inspired. See the full film in our AI Film Gallery here:

Curious Refuge

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The final scene of Planet of the Apes is still one of the greatest endings ever written. After surviving a world ruled by apes, Taylor finally escapes to the forbidden zone believing he has discovered another planet… only to find the ruined Statue of Liberty buried in the sand. In one single shot, the entire movie changes. It was never another world. It was Earth all along. That ending didn’t just shock audiences — it completely redefined what a sci-fi ending could be. Even decades later, the image of Taylor screaming in despair on the beach still feels haunting.

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Love Classical Music and Movies 🎺🎻💖🎥🎬

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exQUIZitely 🕹️

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Wim Wenders explains why "The American Friend" (1977) is political, even though it is an entertainment movie: "Every film is political. Most political of all are those that pretend not to be: 'entertainment' movies. They are the most political films there are because they dismiss the possibility of change. In every frame they tell you everything's fine the way it is. They are a continual advertisement for things as they are. I think 'The American Friend' (1977) is different. Yes, it's 'entertainment' and it's exciting. But it doesn't affirm the status quo. On the contrary: everything is fluid, open, under threat. The film has no explicit political content. But it doesn't talk down to you. It doesn't treat its characters like marionettes - nor its audience either. A lot of 'political' films, unfortunately, do." ("The Logic of Images", Wim Wenders, Translated by Michael Hofmann, 1991) P.S: On this day, 49 years ago, "The American Friend" (1977) premiered at the Cannes Film Festival.

Wim Wenders explains why "The American Friend" (1977) is political, even though it is an entertainment movie: "Every film is political. Most political of all are those that pretend not to be: 'entertainment' movies. They are the most political films there are because they dismiss the possibility of change. In every frame they tell you everything's fine the way it is. They are a continual advertisement for things as they are. I think 'The American Friend' (1977) is different. Yes, it's 'entertainment' and it's exciting. But it doesn't affirm the status quo. On the contrary: everything is fluid, open, under threat. The film has no explicit political content. But it doesn't talk down to you. It doesn't treat its characters like marionettes - nor its audience either. A lot of 'political' films, unfortunately, do." ("The Logic of Images", Wim Wenders, Translated by Michael Hofmann, 1991) P.S: On this day, 49 years ago, "The American Friend" (1977) premiered at the Cannes Film Festival.

DepressedBergman

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AI video is quietly shifting from generation to direction. After testing Ray 3.2 on a restaurant launch concept, that became pretty obvious. I started with two static images: one exterior shot, one interior dining scene. A few minutes later, I had a cinematic sequence that actually felt connected. The biggest improvement isn't just realism. It's control. Most AI video workflows still look like this: prompt → generate → regenerate → regenerate again. You're mostly hoping the model understands what you want. Ray 3.2 feels different. Instead of generating isolated clips, you can guide how one scene evolves into the next. You can shape transitions, control camera movement, preserve visual consistency, and build sequences that feel intentionally directed. For a simple restaurant commercial, that makes a huge difference. The exterior naturally flows into the dining experience. The pacing feels deliberate. The motion feels cinematic. The story feels connected. And that's what stood out to me most. For the first time, AI video felt less like prompting and more like directing. Every frame, yours to direct. Try Luma today using my link:

SONIA

41,651 views • 3 months ago

Has anyone in the scientific community ever watched a SINGLE sci-fi movie? Tech entrepreneur Bryan Johnson posted that he "cloned" himself "as a newborn" in a petri dish to hopefully grow new organs. I swear, every day I wake up it feels like we’re speed-running the plot of every movie that HAS LITERALLY WARNED US ABOUT THIS: Jurassic Park, The Island, Gattaca, Ex Machina, The Matrix, Terminator... pick one. Even Frankenstein was written over 200 years ago as one long warning that maybe, just maybe, we should spend as much time asking "Should we?" as we spend asking "Can we?" But today, our response is still, "Interesting feedback. Let's make it bigger."

Has anyone in the scientific community ever watched a SINGLE sci-fi movie? Tech entrepreneur Bryan Johnson posted that he "cloned" himself "as a newborn" in a petri dish to hopefully grow new organs. I swear, every day I wake up it feels like we’re speed-running the plot of every movie that HAS LITERALLY WARNED US ABOUT THIS: Jurassic Park, The Island, Gattaca, Ex Machina, The Matrix, Terminator... pick one. Even Frankenstein was written over 200 years ago as one long warning that maybe, just maybe, we should spend as much time asking "Should we?" as we spend asking "Can we?" But today, our response is still, "Interesting feedback. Let's make it bigger."

Glenn Beck

76,824 views • 2 months ago

Tron turns 44 today — released on July 9, 1982. The craziest part? This groundbreaking “computer movie” was snubbed by the Academy for Best Visual Effects. Why? They ruled that using CGI was basically cheating and gave filmmakers an unfair advantage over traditional practical effects and hand animation. That “cheating” technique is now the foundation of every major blockbuster for the past 20+ years. Well done, Tron. The future you predicted won. ⚡ Bonus wild fact: The official Tron arcade game (released by Bally Midway right after the film) actually out-grossed the movie. While the film made about $33–50 million worldwide at the box office, the arcade cabinets sold around 10,000 units and raked in an estimated $100–200 million in quarters during its peak years. It even won Coin-Operated Game of the Year. What amazes me most is that there was never a proper Commodore 64 adaptation. Almost every other big 80s sci-fi movie got turned into a C64 game… but the one literally set inside a computer world with light cycle races? Nope. (There was a late, unrelated Tron-like game in 1989, but nothing official at the time.) Mind-blowing.

Tron turns 44 today — released on July 9, 1982. The craziest part? This groundbreaking “computer movie” was snubbed by the Academy for Best Visual Effects. Why? They ruled that using CGI was basically cheating and gave filmmakers an unfair advantage over traditional practical effects and hand animation. That “cheating” technique is now the foundation of every major blockbuster for the past 20+ years. Well done, Tron. The future you predicted won. ⚡ Bonus wild fact: The official Tron arcade game (released by Bally Midway right after the film) actually out-grossed the movie. While the film made about $33–50 million worldwide at the box office, the arcade cabinets sold around 10,000 units and raked in an estimated $100–200 million in quarters during its peak years. It even won Coin-Operated Game of the Year. What amazes me most is that there was never a proper Commodore 64 adaptation. Almost every other big 80s sci-fi movie got turned into a C64 game… but the one literally set inside a computer world with light cycle races? Nope. (There was a late, unrelated Tron-like game in 1989, but nothing official at the time.) Mind-blowing.

Commodore Computer Museum 🕹

20,068 views • 3 months ago

This movie got so close to reality that the government shut it down before it could be finished. On the Silver Globe (1988) is one of the strangest sci-fi films ever made. Directed by Andrzej Żuławski, it follows a colony of astronauts whose descendants gradually transform history into myth and religion. The film was nearly lost forever when the Polish communist government shut down production in 1976 and ordered much of it destroyed while it was about 80% complete. Years later, Żuławski recovered enough footage to finish the film. Missing scenes are replaced by his narration over documentary footage of modern Poland, giving the movie an even more surreal and unique quality.

This movie got so close to reality that the government shut it down before it could be finished. On the Silver Globe (1988) is one of the strangest sci-fi films ever made. Directed by Andrzej Żuławski, it follows a colony of astronauts whose descendants gradually transform history into myth and religion. The film was nearly lost forever when the Polish communist government shut down production in 1976 and ordered much of it destroyed while it was about 80% complete. Years later, Żuławski recovered enough footage to finish the film. Missing scenes are replaced by his narration over documentary footage of modern Poland, giving the movie an even more surreal and unique quality.

Movie Moments Analyst

768,707 views • 3 months ago

$Elon Musk measures every civilization by a single number. By that number, we have not begun. Not by armies. Not by gold. By energy. By how much of it you can actually hold. A Russian physicist named Kardashev drew the scale in the sixties. The first rung should be easy. Musk: “If you’re Type I, you’re using most the energy of your planet.” That is not greatness. That is the entry fee. The moment a species stops being primitive. We have not paid it. Musk: “We’re still using a tiny fraction of the sun’s energy that reaches our planet.” And what reaches us is already almost nothing. Musk: “The Earth only receives about half a billionth of the sun’s energy.” Half a billionth. That is the entire inheritance of everyone who has ever lived. And we built everything we know on the fraction we bothered to catch. Musk: “The sun is 99.8 percent of all mass in the solar system.” Everything you have ever called the world is the rounding error. Every empire, every fortune, every border rose and fell inside a fraction of a fraction. Every war was fought over scraps. Beneath a furnace pouring out more in a single second than we will burn in a hundred years. Every economy ever designed assumed there was not enough. The sun disproved that assumption every morning since the Earth was formed. The abundance was never missing. It fell on us the whole time. We kept our eyes on the dirt. So the scale stops being a measurement. It becomes a verdict. It does not ask how advanced you are. It asks how much smallness you agreed to. Musk looked at the same sky as everyone else. And refused to sign. Scarcity was never handed to us. The sun never rationed anything. We did.$

Elon Musk measures every civilization by a single number. By that number, we have not begun. Not by armies. Not by gold. By energy. By how much of it you can actually hold. A Russian physicist named Kardashev drew the scale in the sixties. The first rung should be easy. Musk: “If you’re Type I, you’re using most the energy of your planet.” That is not greatness. That is the entry fee. The moment a species stops being primitive. We have not paid it. Musk: “We’re still using a tiny fraction of the sun’s energy that reaches our planet.” And what reaches us is already almost nothing. Musk: “The Earth only receives about half a billionth of the sun’s energy.” Half a billionth. That is the entire inheritance of everyone who has ever lived. And we built everything we know on the fraction we bothered to catch. Musk: “The sun is 99.8 percent of all mass in the solar system.” Everything you have ever called the world is the rounding error. Every empire, every fortune, every border rose and fell inside a fraction of a fraction. Every war was fought over scraps. Beneath a furnace pouring out more in a single second than we will burn in a hundred years. Every economy ever designed assumed there was not enough. The sun disproved that assumption every morning since the Earth was formed. The abundance was never missing. It fell on us the whole time. We kept our eyes on the dirt. So the scale stops being a measurement. It becomes a verdict. It does not ask how advanced you are. It asks how much smallness you agreed to. Musk looked at the same sky as everyone else. And refused to sign. Scarcity was never handed to us. The sun never rationed anything. We did.

Dustin

10,205 views • 4 months ago

.Sam Altman responds to Anthropic's Super Bowl ads: "Well it's just wrong. We respect our users. We understand that if we did something like what those ads depict, people would rightfully stop using the product." "Our first principle with ads is that we're not going to put stuff into the LLM stream. That would feel crazy dystopic, like a bad sci-fi movie." "Using a deceptive ad to criticize deceptive ads feels - I don't know - something doesn't sit right with me about that." "It was well played for sure. And it was a funny ad. And the stuff about the ChatGPT personality that most annoys me - which we'll fix very soon - I thought they nailed in the ad." "I also think it's great for them not to do ads. We have a differently-shaped business. I did notice that they said in their thing like, 'We may later revise this decision and we'll explain why if so.'" "I think it's a sideshow. People are excited for a food fight between companies, but the amazing capabilities of these models, the groundswell of excitement around Codex, that feels way more important."

.Sam Altman responds to Anthropic's Super Bowl ads: "Well it's just wrong. We respect our users. We understand that if we did something like what those ads depict, people would rightfully stop using the product." "Our first principle with ads is that we're not going to put stuff into the LLM stream. That would feel crazy dystopic, like a bad sci-fi movie." "Using a deceptive ad to criticize deceptive ads feels - I don't know - something doesn't sit right with me about that." "It was well played for sure. And it was a funny ad. And the stuff about the ChatGPT personality that most annoys me - which we'll fix very soon - I thought they nailed in the ad." "I also think it's great for them not to do ads. We have a differently-shaped business. I did notice that they said in their thing like, 'We may later revise this decision and we'll explain why if so.'" "I think it's a sideshow. People are excited for a food fight between companies, but the amazing capabilities of these models, the groundswell of excitement around Codex, that feels way more important."

TBPN

62,949 views • 8 months ago

#JanaNayagan is a literal remake that could've been far better and not the deserving Farewell for the Tamil Cinema's Box Office Samrat! Thalapathy Vijay, who is now the CM of Tamil Nadu, was one of the biggest commercial stars Tamil cinema has ever witnessed after Superstar Rajinikanth, and the kind of farewell film he deserved should have hit much harder. Despite being around a 60% remake of Bhagavanth Kesari, the team has added political and sci-fi elements to differentiate both films. The political portions were decent, but the sci-fi elements in the final act felt completely out of place. The film constantly feels like it is changing its identity—from a father-daughter emotional drama to a political film and finally into a sci-fi action film. CM Vijay as Thalapathy Vetri Kondan, also known as "TVK," shines throughout and carries this mediocre film from H. Vinoth almost entirely on his shoulders. It was so good to see him back in action, especially during the interval and post-interval fight sequences. Thalapathy Kacheri was an absolute blast and a perfect celebration for his last dance on the big screen. Mamitha Baiju shines alongside Vijay as his daughter and delivers a memorable performance, especially in the climax. Pooja Hegde, Prakash Raj, Narain, and others didn't have much scope and felt like typical template characters. Bobby Deol, as the main antagonist, also suffers from the same issue. Musically, Anirudh delivered some banger songs, but the background score felt repetitive, especially with the reuse of themes like "Raavana Mavada" and "Oru Pere Varalaaru” but still elevates TVK’s screen presence whenever he gives entry. If this film was handled by someone like Lokesh or Atlee, who truly understand Vijay's legacy and stardom, it could've been the perfect farewell for the CM that he deserved. Criticism aside, this is the last time we are going to see our favourite entertainer VIJAY on the big screen. So let's celebrate him for one last time in cinemas. ❤️

#JanaNayagan is a literal remake that could've been far better and not the deserving Farewell for the Tamil Cinema's Box Office Samrat! Thalapathy Vijay, who is now the CM of Tamil Nadu, was one of the biggest commercial stars Tamil cinema has ever witnessed after Superstar Rajinikanth, and the kind of farewell film he deserved should have hit much harder. Despite being around a 60% remake of Bhagavanth Kesari, the team has added political and sci-fi elements to differentiate both films. The political portions were decent, but the sci-fi elements in the final act felt completely out of place. The film constantly feels like it is changing its identity—from a father-daughter emotional drama to a political film and finally into a sci-fi action film. CM Vijay as Thalapathy Vetri Kondan, also known as "TVK," shines throughout and carries this mediocre film from H. Vinoth almost entirely on his shoulders. It was so good to see him back in action, especially during the interval and post-interval fight sequences. Thalapathy Kacheri was an absolute blast and a perfect celebration for his last dance on the big screen. Mamitha Baiju shines alongside Vijay as his daughter and delivers a memorable performance, especially in the climax. Pooja Hegde, Prakash Raj, Narain, and others didn't have much scope and felt like typical template characters. Bobby Deol, as the main antagonist, also suffers from the same issue. Musically, Anirudh delivered some banger songs, but the background score felt repetitive, especially with the reuse of themes like "Raavana Mavada" and "Oru Pere Varalaaru” but still elevates TVK’s screen presence whenever he gives entry. If this film was handled by someone like Lokesh or Atlee, who truly understand Vijay's legacy and stardom, it could've been the perfect farewell for the CM that he deserved. Criticism aside, this is the last time we are going to see our favourite entertainer VIJAY on the big screen. So let's celebrate him for one last time in cinemas. ❤️

𝐍𝐆𝐊11 𝕏

12,804 views • 2 months ago