Jonas Wolcher, the visionary Swedish director born on April 15, 1973, is a cinematic maestro celebrated for his dynamic storytelling in films like "Die Zombiejäger" and "Dragonetti: The Ruthless Contract Killer." In the captivating world of "Cannibal Fog," Wolcher fearlessly delves into the cannibal genre, crafting narratives that defy convention, emphasizing storytelling prowess over extravagant special effects.
His films aren't just stories; they're experiences, guided by an auteur with an unparalleled knack for turning challenges into triumphs. In a world of constraints, Wolcher's indomitable spirit shines through, making him a luminary figure in Swedish cinema. His unique blend of storytelling, music curation, and marketing finesse continues to captivate audiences, ensuring that Jonas Wolcher remains a cinematic force to be reckoned with.
Houdini
17 includes a wealth of new features, including a GPU-accelerated
multisolver for cloth, hair, soft bodies and grains, a new white water
solver, a material-based destruction framework, facial autorigs,
fullbody IK, enhanced animation and modeling workflows, UV autoseaming,
GLTF I/O, gamedev tools and much more.
On October 2, SideFX is hosting the Houdini 17 Launch event at Cirque
Éloize in Montreal. The presentation will be recorded and we'll publish
it asap afterwards.
The H17 release is scheduled for mid-October 2018.
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Music Credits: Olivier Orand
Album: Human | Live Nuit Hypnotique #4
Tracks: Forgotten Ritual, Benares
‘So bad its good’ is a type of enjoyment that seems specific to film
and television. You probably wouldn’t wilfully listen to a terrible
album, read a lousy book or go to see thematically redundant art, and
yet many of us will sit down and watch the worst movie we can find with
glee.
For the first time, academics have delved into this phenomenon, with the journal Poetics
this week publishing a study entitled: ‘Enjoying trash films:
Underlying features, viewing stances, and experiential response
dimensions’.
"At first glance it seems paradoxical that someone should
deliberately watch badly made, embarrassing and sometimes even
disturbing films, and take pleasure in them,” writes Keyvan Sarkhosh,
postdoctoral fellow at the Max Planck Institute for Empirical
Aesthetics.
Tommy Wiseau's 2003 trash classic, 'The Room'
(
)
The team started by trying to ascertain exactly what makes a film
‘trash’, with the most common characteristic respondents cited being
their “cheapness”. Low budget horror films were the most common example,
probably because they’re so plentiful and so easily churned out.
Ironic viewing is obviously what is at play here, and the researchers
found it is mostly film buffs who watch trash films, which would make
sense, as very often their enjoyment comes down to analyses of
production values, dialogue and plot structure.
"To such viewers, trash films appear as an interesting and
welcome deviation from the mainstream fare", says Sarkhosh. "We are
dealing here with an audience with above-average education, which one
could describe as 'cultural omnivores'. Such viewers are interested in a
broad spectrum of art and media across the traditional boundaries of
high and popular culture." He went on to explain that their engagement
in film culture is demonstrated by their discussion of these films in
blogs and forums.
"I told you so! People saying trash film is bad for you, but here's a study saying the opposite. As
a child I've always been called slow and not quite ok in my head. Now
35 years later I understand I never was retarded or stupid but highly
intelligent and it was the environment surrounding me that brought me
down. Today 45 years of age I understand my value and what I have
achieved so far and where I'm heading. It's been a tough road and I keep
on struggling. Here's an advice to all of you who want to make movies.
Do it. Do it. Do it. Don't be afraid to fail and never give up". Jonas Wolcher - Producer and Director
"Att få sin film recenserad och totalt sågad av Felix är som en ovation likt den man får när folk lämnar en biograf mitt under en visning av sin film. Det kan låta märkligt, men det är en härlig känsla att folk orkar bry sig så mycket att de gör ett försök på att förstå något som man producerade för mer än 10 år sedan. Tack grabbar för att ni finns". - Jonas Wolcher - Regissör och Producent Dragonetti The Ruthless Contract Killer - IMDB
Här kommer recensionen
Från skaparen av Die Zombiejäger kommer Dragonetti, den mest förvirrande actionrullen vi någonsin skådat!
Vi glor på en av de mest frustrerande filmerna vi någonsin sett, från skaparen av Die Zombiejäger!
It's with great sorrow I today announce that the Fandom Weekend has been cancelled. I'm deeply sorry you will not meet me or watch our movies this weekend.
My ambition is to come to Holland for another event during next year. Check out my pages and social media for more info.
We are going to show Swedish genre movies during the Fandom Weekend. Don't forget your tickets for our special Swedish photoshoot. Grab them at fandomweekend.com/tickets
Die Zombiejäger är nu upplagd och finns nu att hyra för vising på
biograf eller filmfestival i Sverige. Det är första gpngen på 10 år
sedan den visadws senast. Den är i 2K och i en fin nyrestaurerad DCP.
Finns med både svensk och engelsk text.
DIE ZOMBIEJÄGER 15 JAHRE Die Zombiejäger wird erstmals in Deutschland gezeigt
Dieses Jubiläum werden wir kräftig mit Jonas Wolcher und seinem Team auf dem House of Horrors feiern! Der schwedische Regisseur ist zu Gast auf dem House of Horrors und hat etwas ganz besonderes für Euch im Gepäck!
Es wird ein Filmscreening von DIE ZOMBIEJÄGER in einer bisher nie gezeigten Version geben!
Im Anschluss werden Jonas und sein Team ein ganz besonderes Game Q&A geben…
Das dürft Ihr nicht verpassen!!!
Jonas Wolcher ist seit vielen Jahren als Regisseur, Produzent,
Darsteller, Script writer tätig und hat bei einigen Produktionen sogar
die Special Effects gemacht.
Sicher Dir jetzt dein House of Horrors Ticket !
Eintrittskarten gib es ab nur 15,- Euro! 🦇House of Horrors🦇 Das Original - nur in der Turbinenhalle Oberhausen! 09.-11. November 2018 Turbinenhalle Oberhausen
