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The Ultimate Dystopian & Post/Apocalyptic Films List (1300+ TITLES!)

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posted on Jan, 1 2017 @ 01:33 AM
Although I have several chains of films to post spots for following where the last page left off, here goes a fresh of the press, piece of the higher level that you can see on your computer right now if you know where to look:


[A scientist and a teacher living in a dystopian future embark on a journey of survival with a special young girl named Melanie. ]
[The Girl with All the Gifts is a 2016 British post-apocalyptic zombie horror drama film directed by Colm McCarthy and written by M.R. Carey adapted from his novel of the same name. Starring Gemma Arterton, Paddy Considine, Glenn Close, and Sennia Nanua, the plot depicts a dystopian future following a breakdown of society after most of humanity is wiped out by a fungal infection and focuses upon the struggle of a scientist, a teacher and two soldiers who embark on a journey of survival with a special young girl named Melanie.]
edit on 1-1-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Jan, 10 2017 @ 12:12 PM
Upon seeing this Celebrities Call For ‘Total Hollywood Strike’ Until Trump Resigns thread today, I think I may have just 'sort of' 'invented' a new type of dystopian society story concept...

Imagine a society designed, operated and controlled by Hollywood itself: The Hollywood Dystopia.

I'm pretty sure this hasn't been done yet...

This idea only just popped into my head just upon posting this, and I just woke up really, so I haven't thought it all the way through yet, but figured I better jot it down here just in case!
edit on 10-1-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Jan, 30 2017 @ 12:14 PM

Metropolis is a story of how important emotions are and how they separate humans from everything else. The movie follows a young boy and his uncle (a private investigator). The story is set in the far future where humans and robots live together unfortunately not in harmony. Many robots are forced underground and are terminated for entering unauthorized areas. They are more or less servants to humankind. The plot starts to unfold when the boy meets a robot named Tima and they get in all kinds of trouble. Never a dull moment when you've got a robot by your side.

[Playing like a candy-colored hybrid of Fritz Lang's film of the same name and Ridley Scott's Blade Runner, Osamu Tezuka's Metropolis borrows its plot liberally from numerous legendary sci-fi sources (despite the fact that the original manga was released in 1945, certain cinematic aspects can't help but appearing overly familiar), all the while dazzling viewers on the same cutting-edge visual level as such anime classics as Akira and Ghost in the Shell. The common anime practice of combining amazingly rendered backdrops and more traditionally hand-drawn characters continues here, though with such nuances as beautifully flowing hair and soulfully expressive faces, it becomes obvious that painstaking detail was paid to making the characters both visually and emotionally involving. However, as expressive as some of the central characters may be, it's the elaborate tri-level industrial labyrinth that encompasses the world of Metropolis that forms the film's central character, and it is a kalidescopic animated marvel to behold. Director Rintaro's beautifully composed visual design is so awe-inspiringly colorful and complex that, from the opening frames, the viewer is fully absorbed in the environment, with plot and characterization almost coming as an afterthought. And that is precisely where the film's ultimately forgivable main weakness lies. In between scenes of wide-eyed, jaw-dropping visuals, the story of human and android tension set against the backdrop of a futuristic city borrows from so many sources that it borders on cliché. Thankfully, writer Tezuka's characters are given a depth and sense of purpose that, while not altogether unconvincing or original, consistently connect with the viewer's sense of recognition and sympathy. Viewers will no doubt attest that Metropolis works almost flawlessly on a purely visual and asthetic level within the opening frames of the film. Thankfully, Tezuka's storytelling skills compliment that on a level which, while not entirely new or original, is at the very least genuinely sincere and thoughtful.]

posted on Feb, 2 2017 @ 01:08 AM

[Lincoln Six Echo is just like everyone else - he's waiting to go to the Island, the only place left in the world to actually live a life. Thousands of people stay at a facility waiting to go to the Island. It all sounds like paradise, but Lincoln Six Echo soon discovers that there's actually a sinister purpose going on at that facility and that he must escape - but not before stopping the sinister plan.]

posted on Feb, 7 2017 @ 05:08 PM
DEATH RACE 2000 (1975)

[In a dystopian future, a cross country automobile race requires contestants to run down innocent pedestrians to gain points that are tallied based on each kill's brutality.]

posted on Feb, 7 2017 @ 05:14 PM

Death Race (2008)
[Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.]

Death Race 2 (2010)
[Explores the origins of the first "Frankenstein" car driver, Carl "Luke" Lucas, who died in a race at the beginning of the first film. ]

Death Race: Inferno (2013)
[Convicted cop-killer Carl Lucas, aka Frankenstein, is a superstar driver in the brutal prison yard demolition derby known as Death Race. Only one victory away from winning freedom for himself and his pit crew.]

posted on Feb, 7 2017 @ 05:14 PM
DEATH RACE 2050 (2017)

Death Race is back, and this time fashioned more properly along the lines of the original. Wacky Races meets Idiocracy (starring Manu Bennet & Malcolm McDowell). I liked it, and it had some favorable critic reviews, but audiences didn't know what they were looking at apparently.

[In the year 2050 the planet has become overpopulated, to help control population the government develops a "Death Race." Annually competitors race across the country scoring points for killing people with their vehicles. ]
[Legendary filmmaking icon, Roger Corman, is back with his most outrageous film yet in this sensational, action-packed and darkly humorous reboot of the original Death Race 2000! It's the year 2050 and America is controlled by an all-powerful corporate government ruled by The Chairman (Malcolm McDowell). The masses have been brainwashed with violent virtual-reality entertainment. The event of the year is the Death Race, in which a motley crew of violent drivers compete in a cross-country road race, scoring points for shamelessly running people over and driving each other off the road. The reigning champion and fan favorite, Frankenstein (Manu Bennett), who's half-man half-machine, wants to take the crown, but his rebel spy co-pilot threatens his legacy.]
edit on 7-2-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Feb, 7 2017 @ 05:17 PM
And for the "Mockbuster" (lol):


[In a dystopian future, contestants compete in a cross-country road race in which killing is part of the game. ]
edit on 7-2-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Feb, 17 2017 @ 01:17 AM
This is supposed to be the "sequel" to PROMETHEUS (2012). Sure doesn't look to have anything to do whatsoever with how that film ended off. Looks like just another Alien flick. I recall how in the month after it had been out of theaters how they ere already talking about the script was something like ready, and how it was supposed to be something even further away from the original founding franchise and into its own universe. Instead it looks like we're getting Alien 5:


[The crew of the colony ship Covenant, bound for a remote planet on the far side of the galaxy, discover what they think is an uncharted paradise, but is actually a dark, dangerous world. When they uncover a threat beyond their imagination, they must attempt a harrowing escape.]
edit on 17-2-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Feb, 17 2017 @ 01:20 AM

In 'semi-quazi-related' news it appears a new Predator film is coming, "The Predator (2018)":
edit on 17-2-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Feb, 17 2017 @ 01:32 AM
I wasn't sure what to expect, and as such I wasn't disappointed. As far as sci-fi D/PA films go, this is a better one for watching with a chick. Production wise top notch. Originality wise it's kind of like Contact (1997) with the creatures and their habitat from The Mist (2007) (except nowhere near as lame as Contact was).

ARRIVAL (2016)

[When twelve mysterious spacecraft appear around the world, linguistics professor Louise Banks is tasked with interpreting the language of the apparent alien visitors.]

edit on 17-2-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Feb, 17 2017 @ 01:32 AM
THE MIST (2007)

[A freak storm unleashes a species of bloodthirsty creatures on a small town, where a small band of citizens hole up in a supermarket and fight for their lives. ]

posted on Mar, 18 2017 @ 04:06 AM

originally posted by: IgnoranceIsntBlisss
The contents of the above article prompts me to post several chains of film spots. First...

While Metropolis (1927) is a proper sci-fi film of the 'Pure Dystopian' variety, artistically speaking it's a surrealist German Expressionism work.

Welcome to the first article in Art House, a series detailing the evolution of art house films, and their impact on the relationship between art and cinema. The term art house refers to films that are artistic or experimental in nature, and are generally not part of the commercial mainstream. It is interesting to note that unlike many other forms of avant-garde, filmic avant-garde does not typically generate the profits earned by its musical, visual, and literary counterparts. Most artists who have produced avant-garde films have had to rely on other artistic media as a source of income, including Andy Warhol (American, 1928–1987).1 However, there are several films that have crossed over into the realm of mainstream cinema, and have been both financially successful as well as stylistically influential. This article focuses on German Expressionism, one of the earliest artistic genres to influence filmmaking, and one that arguably paved the way for many other avant-garde styles and techniques.

German Expressionism is an artistic genre that originated in Europe in the 1920s, and is broadly defined as the rejection of Western conventions, and the depiction of reality that is widely distorted for emotional effect. Heavily influenced by artists such as Vincent van Gogh, Edvard Munch, and El Greco, Expressionists were less concerned with producing aesthetically pleasing compositions as they were with creating powerful reactions to their work through the use of bright, clashing colors, flat shapes, and jagged brushstrokes. In its nature, the movement was interested in the relationship between art and society, and encompassed a broad range of fields, including architecture, painting, and film. Expressionist films were initially born out of Germany’s relative isolation during the 1910s, and quickly generated high demand due to the government’s ban on foreign films. The films’ appeal soon spread to an international audience, and by the early 1920s, many European filmmakers had begun experimenting with the absurd and wild aesthetics of German cinema. Two of the most influential films of the era were Metropolis (1927), by Fritz Lang (Austrian, 1877–1961), and The Cabinet of Dr. Caligari (1920), by Robert Wiene (German, 1873–1938). Similar to Expressionist paintings, Expressionist films sought to convey the inner, subjective experience of its subjects.

Fans of the art stylization in Metropolis will surely want to check out other Expressionist classics such as M (1931) [which is sort of the sequel to Metropolis], as well as The Cabinet of Dr. Caligari (1920) and Nosferatu (1922).

Modern Expressionism too exists, especially in paint, but also in film. Begotten (1991) [a proper surrealist film of the quite unsettling variety] would be such an example, as well as Pi (1998) [which is on the List]. Also here would be many of the works of Marylin Manson, Robb Zombie's House of 1000 Corpses (2003), and last but not least pretty much everything by Tim Burton. In a sense Burton's works almost belong on the List artistically speaking alone, while proper for the List when counting systematic crime dystopia's are his original contributions to the Batman film franchise (which as much as I prefer Nolan's Batman reboot, the Expressionist touch that Gotham mandates was mostly a no show). In closing, fans of the artistic style of the Batman animated series & films of more modern times are unwitting fans of German Expressionism of old.

Here goes an Expressionist piece in this form:

One of Korn's best tunes, from the "Queen of the Damned" film soundtrack (which I dont recall was an Expressionist film in the slightest). One of Korn's best songs!
edit on 18-3-2017 by IgnoranceIsntBlisss because: (no reason given)

posted on Jun, 7 2017 @ 05:10 PM
The Truman Show Deleted Scene - Growing Suspicious (1998)

posted on Oct, 3 2017 @ 06:57 PM
What nobody likes dystopian film in ATS land? LIES!

posted on Oct, 3 2017 @ 07:10 PM
a reply to: IgnoranceIsntBlisss

Glad you made this post as it made me aware of this thread....still pretty new here and am still wading the waters trying to get used to the tides, so to speak ...
luv the flick genres referenced, now I just have to start at the beginning and see what all has been said
pretty gargantuan undertaking, so bravo for that

posted on May, 6 2018 @ 07:51 PM
oh my....


Mortal Engines is the first of four novels in Philip Reeve's quartet of the same name. The book focuses on a futuristic, steampunk version of London, now a giant machine striving to survive on a world running out of resources. The book is set in a post-apocalyptic world, ravaged by a "Sixty Minute War", which caused massive geological upheaval. To escape the earthquakes, volcanoes, and other instabilities, a Nomad leader called Nikola Quercus (known as god Nicholas Quirke by the time of the book) installed huge engines and wheels on London, and enabled it to dismantle (or eat) other cities for resources. The technology rapidly spread, and evolved into what is known as "Municipal Darwinism". Although the planet has since become stable, Municipal Darwinism has spread to most of the world except for Asia and parts of Africa. Much technological and scientific knowledge was lost during the war. Because scientific progress has almost completely halted, "Old Tech" is highly prized and recovered by scavengers and archaeologists. Europe, some of Asia, North Africa, Antarctica, and the Arctic are dominated by Traction Cities, whereas North America was so ravaged by the war that it is often identified as "the dead continent", and the rest of the world is the stronghold of the Anti-Traction League, which seeks to keep cities from moving and thus stop the intense consumption of the planet's remaining resources.

edit on 6-5-2018 by IgnoranceIsntBlisss because: (no reason given)

posted on Jun, 7 2018 @ 08:59 AM
How could you forget.

The Omega Man with Charleston Heston.

Where a person could have bought a car for $2,200 bucks until the world ended and everything was free.

posted on Jun, 7 2018 @ 09:04 AM

Jerhico (2006) [TV series] Jeremiah (2002) [TV series]

I just binged watch those along with Falling Skies again.

The 100 is still airing.

posted on Jun, 14 2018 @ 01:24 AM
a reply to: neo96

Omega Man, The (1971)

Its in there.

The 100, oh my, they have a talent for casting chicks that are so gorgeous they almost hurt to look at.

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