#ai copilot

Entra en el sueño de Lillian Gish y deja que te guíe hacia el sentido del Cazador de Noche (Night Hunter.)

Night Hunter es un cortometraje animado estadounidense de 2011 escrito y dirigido por Stacey Steers. La obra experimental de 16 minutos combina animación, collage y apropiación de películas de la era del cine mudo, mostrando la imagen de la actriz Lillian Gish recontextualizada en una narrativa surrealista y onírica. La película es conocida por su construcción artesanal, que consta de más de 4,000 collages individuales, y por su atmósfera inquietante inspirada en mitos, alegorías y arquetipos.

En esta película hecha a mano, compuesta por más de cuatro mil collages y filmada en 35 mm a color, la actriz Lillian Gish es apropiada sin problemas del cine de la era del cine mudo y sumergida en un papel nuevo y fascinante. Night Hunter evoca un paisaje onírico inquietante, extraído de la alegoría, el mito y el arquetipo.

VEASE EL CORTOMETRAJE A CONTINUACION

LINK https://youtu.be/Y6fX430Gt5o

CAZADOR DE NOCHE (Night Hunter): Lillian Gish y la lógica onírica de Stacey Steers

Night Hunter, de Stacey Steers, resucita a Lillian Gish no como la frágil ingenua del cine mudo, sino como el corazón palpitante de un sueño hecho a mano. Construida a partir de miles de collages, la película sitúa a Gish dentro de un mundo doméstico que funciona como un subconsciente: habitaciones que se desplazan, insectos que irrumpen, objetos que laten con vida simbólica. Steers ha dicho que le atraen las actrices del cine mudo porque sus rostros poseen una claridad emocional, y recontextualizarlas le permite explorar la interioridad femenina de un modo que el cine temprano nunca permitió. Su motivación no es la nostalgia, sino la transformación: liberar a estas mujeres de los papeles que una vez las encorsetaron.

El título Night Hunter nombra la lógica del mundo que habita Gish. No es una persona, sino un ciclo: los gusanos y las polillas que aparecen como convocados por el instinto, la mujer‑pájaro en la que Gish se convierte, y la serpiente que finalmente la devora. Cada criatura caza y cada criatura es cazada. El título describe este ecosistema nocturno, el ritmo depredador de un sueño donde el instinto domina al relato.

Uno de los momentos más sobrecogedores llega cuando Gish sostiene un huevo contra su pecho en un gesto que recuerda a la lactancia. No es maternidad humana; es instinto, pura animalidad: la ternura de un ser que protege lo que ha creado. Aquí la película roza a Kafka, no por imitación, sino por territorio psíquico compartido: una metamorfosis sin explicación, un cuerpo que se convierte en algo que nunca pidió ser. Pero donde Kafka termina en aislamiento, Steers construye una ecología simbólica. Los gusanos y las polillas son la dieta de la criatura en que se transforma; la serpiente es el depredador inevitable de esa criatura. La devoración final no es castigo, sino culminación: el sueño que consume a su soñadora.

Steers ha descrito sus películas como exploraciones de un terreno psicológico, lugares donde la identidad se disuelve y se recompone. En Night Hunter, condensa una mitología entera de creación, instinto, vulnerabilidad y disolución en dieciséis minutos. La película parece más larga porque se expande dentro de uno. Es una pesadilla hermosa, y en sus sombras, Lillian Gish se convierte en algo que el cine mudo nunca le permitió ser: un ser mítico con su propio instinto, su propio hambre, su propio destino.

Si has seguido a Lillian Gish por este sueño, deja que sus sombras permanezcan un instante más antes de volver al mundo despierto.

NOTAS

Lillian Diana Gish (Springfield, Ohio; 14 de octubre de 1893-Nueva York; 27 de febrero de 1993) fue una actriz estadounidense, una de las estrellas femeninas más prominentes e influyentes del cine mudo de Hollywood. Lillian Gish - Wikipedia

Stacey Steers nació en Denver, Colorado. Es conocida por sus películas animadas, basadas en procesos y compuestas por miles de figuras hechas a mano en papel. Su trabajo más reciente emplea imágenes tomadas de fuentes cinematográficas tempranas, a partir de las cuales construye narrativas originales y experimentales. Cada fotograma se compone primero de complejos collages de papel ensamblados a partir de fragmentos de grabados impresos, ilustraciones antiguas o dibujos; luego fotografía cada collage en película de 35 mm en un delicado proceso artesanal.

Los cortometrajes animados de Steers se han proyectado ampliamente en Estados Unidos y en el extranjero, y han recibido numerosos premios. Sus películas han sido incluidas en el Festival de Cine de Sundance, el Festival de Cine de Telluride, y en Europa en los de Locarno o Róterdam, entre otros; sus obras también se han exhibido en la Galería Nacional de Arte en Washington y en el MoMA de Nueva York.

THE TRINITY OF THE GENOME: FACES AND COLOR CODED INTO NATURE

https://www.tumblr.com/mikereblog/797813469846126592/stop-see-ver-gallery-ia?source=share

https://www.tumblr.com/mikereblog/797813469846126592/stop-see-ver-gallery-ia?source=share

https://www.tumblr.com/mikereblog/797813469846126592/stop-see-ver-gallery-ia?source=share

Sex and Fury (1973) is a Japanese ero guro jidaigeki film directed by Norifumi Suzuki, known for blending period drama aesthetics with exploitation cinema. It stars Reiko Ike, one of the defining figures of 1970s pinky violence films, alongside Swedish cult icon Christina Lindberg.

source gradexmovies Jan 29 https://www.tumblr.com/gradexmovies/807074983810596864?source=share

Sex & Fury (1973) - IMDb 6'6

the film runs 88 minutes and is set during Japan’s Meiji era, a period of rapid modernization and political turbulence. It adapts the character Inoshika Ochō from the work of Tarō Bonten, weaving revenge drama, political intrigue, and stylized violence into a single narrative.

link https://ok.ru/video/12483102771763

YouTube link https://youtu.be/Lr6QpnEiaNg

Note:

Wings Over Everest (also known as Bing feng bao) is a 2019 Mandarin-language action-adventure film directed and written by Fay Yu, starring Jingchu Zhang, Kôji Yakusho, and Po-Hung Lin. The plot follows a rescue team attempting to recover sensitive files from a crashed plane within the "Death Zone" of Mount Everest.

My take: the script is a bit confusing with phenomenal photography. Perhaps we can say that "At its core, Wings Over Everest is a story about how a single lost document can tilt the balance between conflict and fragile peace in one of the world’s most contested mountain ranges." However, after the film, I give a more detail view of the film in the hope of making some of the shadier aspects of the film more comprehensible.

Wings Over Everest (2019) - IMDb 5'2

WATCH FILM BELOW

link https://ok.ru/video/9849708088035

What's it all about ...

Wings Over Everest builds its drama on a single, fragile premise: a plane carrying sensitive intelligence documents crashes high in the Himalayas just days before the Himalaya Alliance Peace Summit, a meeting meant to ease long‑standing regional tensions. The contents of the file are never spelled out in detail, but the film makes their significance unmistakable — they hold information capable of shaping the political balance at the negotiating table. Whoever controls the file controls the narrative.

A high‑altitude rescue team is hired to retrieve the documents before the summit begins. What appears to be a straightforward mission quickly reveals a hidden agenda. The men who commission the rescue are not the intelligence officers they claim to be, but members of a faction determined to sabotage the peace process. Their aim is simple and ruthless: control the documents if possible, destroy them if necessary, and ensure that the truth behind recent covert operations never reaches the summit. In their hands, the file is not evidence but leverage — a tool to keep the region unstable and the diplomatic effort off balance.

As the team climbs toward the crash site, the mountain becomes the stage for this political struggle. The visible danger is the altitude, the weather, the ice. The real danger is the invisible one: a conflict between those who want the summit to succeed and those who profit from its failure. Every step upward tightens the tension between physical survival and geopolitical consequence.

The climax brings the film’s logic into sharp focus. When the female protagonist threatens to burn the file, she strips the saboteurs of the only power they possess. If the documents vanish, their leverage vanishes with them. The threat reverses the entire dynamic: the rescuers no longer chase the truth; they hold it hostage. In that moment, the mission reveals its true nature — not a retrieval, but a moral stand against those who would bury the possibility of peace.

In the end, the summit remains the film’s silent protagonist. It is the unseen center around which every action turns, the fragile hope that drives the rescue and provokes the sabotage. Wings Over Everest is less a story about mountaineering than about the precariousness of political stability, and the lengths to which some will go to protect it — or to destroy it.

Summer of Mesa is a 2020 coming-of-age romantic drama film written and directed by Josh Cox who was 20 years old during the shoot. Set in 1985 on Cape Cod, Massachusetts, it stars Molly Miles, Andrea Granera, and Alec Bandzes. The story chronicles the romantic relationship between 16-year-old Lily, and Mesa, a girl her age who she meets on the peninsula

Wikipedia Summer of Mesa (2020) - IMDb 5'5

WATCH FILM BELOW

LINK https://youtu.be/9Ma4Zqt_el8

The Quiet Brilliance of Josh Cox and the World of Summer of Mesa

What astonishes me about Summer of Mesa isn’t simply that it was made by a 20‑year‑old. It’s that the film carries the calm confidence of someone who has already lived a lifetime inside cinema. Josh Cox shot the entire feature for $400, using a Panasonic GH4, a modest mirrorless camera most filmmakers treat as an entry‑level tool. Yet the result feels flawless: sun‑bleached, tender, and aesthetically beautiful in a way that doesn’t strain for effect. It just exists, like a memory you suddenly remember in full color.

My admiration for Cox is beyond words. There’s something almost disarming about a filmmaker this young creating something this assured. He found his voice before he could legally rent a car.

Cox’s biography reads like the blueprint of a micro‑budget prodigy. He grew up experimenting with images, teaching himself camera movement, editing, and color through instinct rather than formal training. When he began Summer of Mesa, he didn’t assemble a crew — he was the crew. Director, cinematographer, editor, producer. Six days of shooting on Cape Cod, almost entirely with natural light, and a visual language that feels more like a diary than a production.

One of the film’s quiet miracles is the casting. Cox didn’t hold traditional auditions. He chose actors through conversations, looking for presence, softness, and emotional openness rather than technique. That’s why the performances feel so unforced. The characters don’t seem acted; they seem lived. The chemistry between Lily and Mesa isn’t manufactured — it’s discovered.

What makes Cox compelling is that he doesn’t chase scale. He chases intimacy. His frames are quiet, his pacing patient, his emotional beats unhurried. There’s a pastel realism to his images — a kind of gentle observational gaze — that many directors spend decades trying to find. He found it before he could legally rent a car.

As for his future, the signs point toward a filmmaker who will continue working outside the traditional system, building stories the way painters build canvases: slowly, personally, with total authorship. He has already announced a follow‑up set in the same emotional universe, suggesting he’s not done exploring the fragile, luminous spaces where adolescence and desire meet. If Summer of Mesa is his first whisper, the next films may be where he learns to speak in full voice.

For now, it’s enough to say this: Josh Cox didn’t just make a film at twenty. He made a film with a soul — and that kind of beginning tends to lead somewhere remarkable.

WATCH THE SHORT FILM BELOW

Theories are perceptions that have to be proven and verified before it becomes truth, otherwise, it is a rumour.

John DeSouza is a 25 year formar FBI veteran who was the real deal behind the TV series the X FILES. He tells his story as it is...

The conversation John DeSouza had in the summer of 2023 in Clayton Morris program REDACTED CONVERSATION is a fascinating account of theories and truths. Hear them out.

LINK https://youtu.be/U06GkT6mx04

One of the topics mentioned in the conversation between John DeSouza and Clayton Morris is the pass word "a thousand pieces" .

It's shorter version "A Thousand Pieces" refers to a movie. (see note 1 about it been attributed to JFK)

A Thousand Pieces is a 2020 American documentary film directed by Roger R. Richards and Steve Lucescu, written by Richards, and produced by Lucescu and Adrienne Youngblood.. It runs approximately 97 minutes and features an original score by Rene Armenta.

A Thousand Pieces (2020) - IMDb 8'4

The documentary presents an investigative narrative centered on the systemic corruption within the CIA and FBI, framed through the lens of historical covert operations and political controversies. It opens with the assassination of President John F. Kennedy in 1963, using this event as a thematic anchor for exploring long‑standing distrust of intelligence agencies.

The film examines programs such as COINTELPRO, which targeted civil rights leaders including Martin Luther King Jr. and Malcolm X, and intelligence operations like Operation Northwoods and Operation Mockingbird. Through interviews and archival material, it argues that these operations reveal patterns of clandestine influence, “false flag” planning, and media manipulation. The documentary positions itself as a call for reform of what it describes as deeply entrenched institutional corruption.

WATCH THE FILM BELOW

link  https://ok.ru/video/3482052397713

About the quote attributed to JFK A THOUSAND PIECES

The alleged quote attributed to John F. Kennedy — the vow to “splinter the CIA into a thousand pieces and scatter it to the winds” — cannot be supported. It does not appear in any speech, transcript, or archival recording. Its earliest known source is a 1966 New York Times article quoting an unnamed former aide, a retrospective recollection rather than a documented statement. And yet, despite its uncertain origin, the line has taken on a strange cultural solidity, circulating as if it were a matter of public record.

That tension — between what is documented and what is believed — is precisely why the phrase endures. It captures, in a single violent metaphor, the rupture that followed the Bay of Pigs: a president disillusioned with the intelligence apparatus, a government wrestling with the limits of secrecy, a nation beginning to sense the machinery operating beneath its democratic surface. Whether Kennedy ever said the words matters less than the fact that so many people feel he could have.

This is the symbolic terrain that the title A Thousand Pieces occupies. The documentary borrows the phrase not as a historical citation but as an emotional shorthand, a way of naming the fracture between public trust and institutional power. Its narrative moves through decades of covert operations, political scandals, and contested histories, tracing the long shadow cast by agencies designed to operate in darkness. The film’s title becomes a kind of thesis: that the story of American intelligence is not a single coherent arc but a mosaic of broken fragments — leaked, redacted, disputed, and endlessly reassembled.

In this sense, the title’s origin mirrors the film’s method. Both rely on the unstable border between fact and interpretation, between what can be proven and what can only be inferred. The alleged JFK quote becomes less a statement of record and more a cultural artifact, a piece of political folklore that reveals how Americans imagine their own government. And the film, by adopting its shortened form, invites viewers into that imaginative space — a place where secrecy breeds myth, and myth becomes a lens for understanding the present.