Ghost In The Shell (1995)
The title card that introduces Mamoru Oshii’s Ghost In The Shell is split into two sentences. The first reads like boilerplate pretext for a techno-thriller: “In the near future—corporate networks reach out to the stars, electrons and light flow throughout the universe.” The second is perhaps the most quietly upsetting foreword in film history: “The advance of computerization, however, has not yet wiped out nations and ethnic groups.”
On first blush, it seems reassuring, as nations and ethnic groups are things that people typically prefer not to be eradicated off the face of the earth. But there’s something unnervingly nonchalant about the wording of that opening scrawl. It may not be palpable at first (particularly in the dubbed and graphically retouched version of the film available on Hulu, which doesn’t bother to subtitle the Japanese text), but the bleak implications of the preamble poke through as the film’s resigned worldview begins to take shape. A philosophical treatise masquerading as cybernetic noir, Ghost In The Shell immediately looks beyond human civilization as we’ve known it, and does so with a confidence that steals the story away from the speculative and locates it firmly in the inevitable.
Owing to its beautiful coat and bushy tail, which can be fiery red, steely gray or snow-white, the fox has held a special place in our hearts since time immemorial as a beautiful and mysterious woodland creature. These 22 pictures will make you fall in love with the fox all over again. The …