Marco Brambilla

In 1996, brash L.A. detective John Spartan and maniac killer Simon Phoenix are both sentenced to decades in a cryogenic prison as punishment for a rescue mission gone wrong. When Phoenix escapes 36 years later to wreak havoc on the future, Spartan is awakened to capture his nemesis the old-fashioned way.

A rich brat fakes her own kidnapping, but in the process ends up locked in the trunk of a car that gets stolen.

A compilation of erotic films intended to illuminate the points where art meets sexuality.

After a plane crash strands two brothers on a lost continent where dinosaurs and humans live together in harmony, they disagree over escape plans. (Condensed cut of original mini-series to be a feature length as seen on Peacock).

A meditation on the female body as a source of both power and pain that focuses on the tragic figure of renowned American-Greek opera singer Maria Callas (1923-77), whose stunning soprano voice captivated audiences around the world in the mid-20th century while her life was wracked by scandal and personal suffering.

The work follows Greek philosopher Galen’s classification of four personality dispositions—sanguine, choleric, phlegmatic, and melancholic. In the film, Blanchett is seen playing four characters, each representing one of the temperaments. Denoted by color, we see the actor’s face appear on the screen bathed in yellow portraying sanguine, red for choleric, blue as melancholic, and green for phlegmatic. As Blanchett’s personalities are displayed in a series of synchronized images, she begins establishing each distinguished character.

Civilization is a multi-layered tableau of interconnecting images that illustrates a contemporary, satirical take on the concepts of eternal punishment and celestial reward. More than 300 individual channels of looped video are blended into an expansive landscape that continuously scrolls upward, from the depths of hell to the gates of heaven.

'Sync' is made up of sampled images from sex scenes in mainstream and adult films. The formulaic and often derivative nature of the way this subject is interpreted in cinema is emphasised, creating a strong subliminal impression which gradually builds to a state of sensory overload. 'Sync' uses samples as short as single frames edited together to create the impression of motion. The original continuity and narrative in the source material is eliminated, and a new visual choreography emerges.