![]() It’s not unlike the approach taken by A Scanner Darkly, which instead rotoscoped over the actors’ performances.Ī lot of cyberpunk movies have roots in Japanese anime, so the animated approach feels right at home here. It’s classic noir with a cyberpunk aesthetic.ĭirector Christian Volckman achieved this look by recording live actors with motion capture, then replacing them with digital models in post-production. The animation is submerged in such high-contrast black and white that it makes Sin City shiver. One look at the art style of Renaissance will tell you everything you need to know about it. Gilliam’s camera hovers and tilts through long sequences in a way that’s sometimes distracting, but frames his world as more unhinged than its contemplative peers. It proves that the sun actually can rise in these neon-noir wonderlands. Unlike the chiaroscuro lighting of cyberpunk films like Blade Runner or Minority Report, this city is bathed in light. This is no replicant - this is the real deal. ![]() The citizens are immersed in a vibrant cyberpunk style.Įvery outfit and storefront is the color of candy and bubblegum. Though underperformed at the box office, it still represents the best of the best cyberpunk movies. The film plays with all the familiar tech-noir tropes: there’s an oppressive corporation, a femme fatale, and an urban sprawl overflowing with advertisements. Though it never reaches the same heights, it deserves a spot in the pantheon thanks to its manic vision and twisted subversion of the cyberpunk genre. ![]() Big footsteps considering those are two of the best cyberpunk movies out there. Terry Gilliam’s 2013 tech-noir film follows in the footsteps of his previous hits, Brazil and 12 Monkeys. He’s a hairless nutcase cooped up in a dilapidated church. Qohen (Christoph Waltz) is an existentially-unsettled programmer who is vying to be “The One” of some all-important story.
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