EUFF 2013 Film Review - Dream Team 1935

Set in the run up to the Second World War. Dream Team 1935  based on true events tells the story of the first European Basketball championship. The main players are the members of the Latvian team, its coach, his wife, neighbours and the leaders of the Latvian Sports Committee. Basketball was a much different game in the mid thirties. Every possession started with a jump ball there was no inbounds pass, free throws were shot underhand and the players were not specialist. As a sign of the times in Latvia the leading players were either from the University or from the Army Sports Club team.

The brains behind the team was Vlademars Baumanis (Janis Amanis) and excellent tactician and student of the game. He is set with the task of bringing players together from rival squads, molding them into a team and getting them to Geneva for the championship with little money or support. Baumanis' first move is to hire a strength and conditioning coach. The next to practice drills over and over again. The third improvise using any location available to practice; make the uniforms by the hand led his wife Elvira (Inga Aslina) and cut travel and lodging expenses to the bare bones.

Director Andrejs Ekis sets a comfortable pace to the production featuring a soundtrack peppered with swing and big band standards. The film is shot in a straight ahead manner not suffering the mistake of overusing of slow motion sequences or reaction shots that befall many sport movies.

The piece features many stand out scenes that drive the plot. A particular forceful one is Baumanis challenge to get his team to finally break their long standing rivalries forcing them to work together off the court to accomplish a goal. Another piece of Baumanis psychology is the approach he used to get the University Sport top players to join the National team despite being coach for the arch rival Army team.

Costume Designer Natalia Zamahina did wonderful work on this project. Starting with the look and material of the players uniforms continuing with the players' formal attire especially the wardrobe of the Swiss team and concluding with the casts regular daily attire. A special mention has to go to the hats. Just about everyone wore one at this time and Zamahina produced a multitude of different versions that spanned the era.

Production designers Martins Milbrets and Neils Matiss were the other main contributors that recreated the time.  Their initial stand out piece is the military hanger that is transformed into a basketball court for the opening game in the film between University Sport and the Army team followed by the intricate detail of the train that team travel on first to Lithuania and then on to Geneva. The last and most spectacular is the Sports centre in Geneva the host site of the 1935 Championship.

Janis Amanis gives an energetic and relentless performance as Valdermars Beaumis the coach, leader and vision behind the team. Inga Alsina is sturdy as his wife who is very supportive willing to do anything to help not giving up on the dream even when her husband begins to weaken when faced with a mountain of obstacles. The players on the team fall into their traditional roles with no one performance rising above the other.  The group to watch are from the network of friends and neighbours that orbit the Beaumis home some times criticizing but in the end responding when called upon.

Aigars Garaba has produced a very watchable film on a fresh topic from a nation with a burgeoning film industry. The narrative of an underdog overachiever is always attractive and the performances are on balance solid. The costume, production and prop departments skillfully bring the viewer to in to the mid thirties. The film continually emphasizes that proper preparation will lead to a successful outcome each and every time. The capsules explaining the postscipt of each member of the troupe is a sobering touch highlighting how fast ones fate can change. Dream Team 1935 is a film I can definitely recommend.

*** 1/2 Out of 4.

Dream Team 1935 | Aigars Garaba | Latvia/ Switzerland  | 2012| 120 Minutes.

Tags: Sports Firsts, European Basketball, 1935 Events, Innovation, Bureaucracy, Determination.

EUFF 2013 Film Review - Kuma

Wedding day in a small Turkish village Ayse (Begum Akkaya) is about to be married and leave her village to head to Vienna. Her betrothed Hasan (Murathan Muslu) is reveling amongst the men when Ayse emerges in traditional attire to complete the ceremony. The next day the family packs up to head back to Austria. Ayse says her goodbyes to her family and as they pull away amongst the stone buildings the local kids chase after the vehicle down the dirt road.

Once back in the family apartment in Vienna the truth behind the marriage is revealed. Ayse is to be second wife (Kuma) of family patriarch Mustafa (Vedat Erincin). Hasan his second son played groom in order to bring Ayse into Austria. They family do not reveal the truth to community or extended relatives. The arrangement leads to an first night for Ayse as one by one the family leaves the living room including Mustafa's wife and family matriarch Fatima (Nihal Koldas) leaving Ayse and Mustafa alone for the first time.

Director Umut Dag brings to the screen an intimate look at the inner workings of a Turkish Austrian family. The roles of the females and males are strictly defined. The family follows Sharia law and the acceptance of these roles is out of the ordinary in western society. Fatima is the most welcoming to the arrival of Ayse. She is having health concerns undergoing chemo therapy and sees Ayse as her replacement that she can teach how to take care of her family before she's gone.

The drawback of the film is the way that it was shot. Cinematographer Carsten Thiele had no independent ideas or style for the feature. It's either a lack of vision in the shooting or the writing area but and over abundance of scenes end with not transition and just the standard fade to black.  The piece only had two notable scene shifts one when the family attend a funeral beginning with a small patch of flowering grass plants then expanding to an overhead shot of the complete field showing the men surrounding the grave site while the women huddled a distance away. The second occurs when Ayse sinks to the ground in a hallway after receiving devastating news one evening. When she rises from the floor it's morning of the next day.

Costume Designer Cinzai Cioffi did a great job creating the traditional turkish outfits. The bride's dress at the wedding featured the customary fabrics, woven precious metals and lace outlines. The young males were well represented in their groomsmen attire. The red scarf accenting Hasan's outfit stood out to signify that he was the groom. The wardrobe of the female characters rings authentic throughout the piece.  When friends and family meet the couple the visiting females are adorned in heavy gold fabrics and colourful Hijab's. Even the scarfs that the children where at home are well appointed.  The soundtrack features established Turkish pieces. The wind instruments and drums pierce over the voices at the wedding ceremony. A single guitar plays as Ayse leaves her village to head to Vienna.

The strength of the film is the acting by the female characters. Nihal Koldas is wonderful as the family matriarch Fatima. She is the most accepting of her husbands second wife and continues to support her when events do not unfold as planned. Begum Akkaya is solid as Ayse the Kuma. Her character grows from the timid village girl to mother/auntie and a main contributor to the family. Dilara Karabayir  performs well as the middle daughter Nurcan who is most upset at Ayse at the beginning but helps her to learn German and turns out to be her main defender at a critical point in the film.

Ulmut Dag presents a thought-provoking story on an intriguing topic. The film has many notable performances but in the end it seems like Dag could have done more with the material. The failing of this movie is on the production side. On balance it is not a film that I can recommend.

** Out of 4.

Kuma | Ulmut Dag | Austria | 2012| 93 Minutes.

Polygamy, Religion, Affair, Cancer, Islamic Laws, Village Life, Transplanted Community.

EUFF 2013 Film Review - oh Boy

Niko Fischer (Tom Schilling) cannot stick to anything or with anyone for an extended period of time. The film opens with Niko at his girlfriend Elli's place in the early morning hours. He insist that he has to leave because he has appointments but it's quite obvious he doesn't plus he has no real excuse why he cannot return that evening. She offers to make him coffee but he claims that he has a million things to do.  The failure to obtain a coffee is the first of the two running bits thought the film. The other being his constant search for a light for a cigarette.

The story moves forward an undisclosed period of time Niko is moving into a new place, his girlfriend is reduced to a series of photos in a box. He has no furniture and a new nosy upstairs neighbour. While lounging around his new place he realizes that he is late for an appointment. He rushes to an office building where he meets with a government official who has Niko driving future in his hands. The meeting does not go well thus starting a series of disappointing episodes that play out over the course of the day.

First time director Jan Ole Gerster delivers a clean linear story to the screen. It's an account of a mid twenties loafer that wanders in no particular direction around Berlin because he can. He is keenly aware that if he gets into any real trouble he can always go to his parents to bail himself out. The tale includes many appealing characters that Niko meets in is travels. Amongst them is his friend Matze (Marc Hosemann) who is an actor that was top of his craft in acting school but is working in advertising as no role he is offered is worthy of is talent. Julika Hoffman (Friederike Kempter) a classmate from grade school who he used to make fun of because of her weight in and is now a dancer and performance artist. Perhaps the best encounters are with two senior citizens; Frau Baumann the grandmother of Matze drug contact and an old man that he meets in the bar at the end of his long nightmarish day.

The presentation is in black and white and features many compelling shooting choices. The opening scene with Niko and Elli is introduces with a shot from outside the doorway of her room.  The shooting angle emphasizes the dark shadows on the wall leading to the room and captures the morning light coming in through the drapes and under the bed. The film is mainly conversational and most of these scenes are a two camera shot with a camera fixed behind each actor on the screen.  The black and white environment really brings out the shadows on the actors faces, under the folds of clothing and the quiet parts of the frame.

Cinematographer Phillipp Kirsamer took full advantage of the black and white environment.
The film is beautifully shot with a crisp lens. Kirasmer uses a lot of reflections in his work. Niko reflection in a mirror in is bathroom, the cityscape passing by reversed on the passenger door glass of Matze's car and off the large windows on the patio at his father's golf club. Another notable section of Kirsamer's work is in the bar scene where Niko has a conversation with the old man. The understated lighting is pleasing to the eye and the smoke from Niko's cigarette headed up to the ceiling lights is reminiscent of a 1940's film. The quintessential shooting sequence is a passage when night turns to day in the city. It's a series of quick cuts between landmarks backed by piano showing the stillness of Berlin at dawn.

The musical passages are mainly in two genres jazz and classical. Jazz notes form the background of Niko's first scene with Elli and the bar scene with the old man while classical piano is prominent as Niko rides though town with Matze at night. The piano is also the background music in Niko encounter with Ms. Baumann as she lets him try her reclining chair in the living room. There is even a bit of dixieland as late afternoon in Berlin turns to early evening.

Tom Schilling is impressive as the rudderless Niko Fischer. He is in every scene in the film and very comfortable in the role as a University dropout that is in no particular hurry to decide what to do next. Marc Hosemann is strong as his unconformist friend Matze. Look for Ulrich Noethen as Niko dad Walter Fischer who delivers a memorable performance in a small role telling Niko that that best thing he can do for him is nothing more as he shuts off the money tap. Friederike Kempter is formidable as Julika; Niko grade school classmate that was picked on as a little girl, transformed herself but still fraying on the edges of her personality.

oh Boy is a superb first effort from and emerging filmmaker. As writer director Gerster has presented a piece with a strong narrative full of solid characters. There is no heady theme or message to take with you as you leave the theatre. It's an enjoyable story and a film that I strongly recommend.

*** 1/2 out of 4.

oh Boy | Jan Ole Gerster | Germany | 2012 | 83 Minutes.

Twenty-somethings, Berlin, Quitter, Bullying, Redemption, Tough Love, Performance Art, Film Set, Coffee, Cigarettes, Graffiti.

Reel Asian 2013 Film Review - Linsanity

Jeremy Lin holds the record for points per game and assist for the first nine games as a starter n NBA history. He also holds the record for most points in a single game over that span putting up 38 opposite Kobe Bryant and the Los Angeles Lakers. How could a player with such talent have gone undrafted  out of college and only been offered on division one scholarship after leading his high school team to the California State Championship? Directors Evan Leong's Linsanity tells the story.

Evan Leong first heard about Jeremy Lin while Lin was at Harvard. As an Asian-American with hoop dreams of his own he was intrigued with the stories of an Asian American setting records in the Ivy league along with early whispers that Lin might have the talent to play in the NBA. Leong headed to Harvard to meet with Lin at first hopeful that he could do some short interviews that he would post onto you tube but after a successful kickstarter campaign that raised $117,000 he was able to shoot this documentary.

Leong shoots Lin's career with the aid of footage from many different sources. Jeremy's dad had plenty of home videos which were incorporated into the film. The recordings showed Jeremy in his early days playing at the local YMCA sinking shots as a 6 year old. Leong used local television and school archival footage for Lin's Palo Alto high school games. At of Harvard Leong was personally on scene and could use his own film roll. After Lin's free agent signing with Golden State and stint in the Developmental league the NBA were on board with the project featuring a Taiwanese - American with NBA potential.  The league sent crews to film Lin's Reno Bighorns D-league games even fitting him with a microphone during game action.

The crux of the story is that of an athlete that does not fit the mold of what is expected in a sport getting one opportunity to play from youth league to High School to College and beyond and taking that solid chance, succeeding only to have to prove himself again at each level. It's a true underdog story that just about everyone can understand having been in that position at some point in their lives trying to complete a task or achieve a goal.

A key element in Jeremy Lin's life is his faith. It's what got him through is darkest days when he was down in the D-league then cut by Golden State followed by a second cut a few days later by the Houston Rockets on Christmas Day. Lin was on the verge of being out of the sport until his chance to start on February 4, 2012, for the New York Knicks vs. the New Jersey Nets starting Linsanity. The second rung on Lin's tote board is family. He is the middle of three basketball playing brothers born in California to Taiwanese parents and Chinese grandparents.  His family was always supportive even during his attempts as a youth to master piano. One of the funniest sequences in the film is the family video of Lin playing the one piece that he learned on the piano year after year at his piano recital.

Linsanity is a rousing story about a Northern California kid from a different demographic that has made it in the NBA.  The film is filled with background and inside information from Lin including the exchange he had Knick coach D'Antoni asking him if he should ship his car out from California to which D'Antoni responded slowly I'm not so sure. The fact that he was sleeping on Knick teammate Landry Field's couch which was no more that a glorified love-seat. To his struggles to enter the players entrance at Madison Square Garden as security thought he might be a trainer at best. The message of the film is to never give up, keep on trying and everyone gets knocked down the key is what you do when you get back up.

*** out of 4.

Linsanity | Evan Leong | U.S.A. | 2013 | 89 Minutes.

Palo Alto, Taiwan, China, Stereotypes, 2010 NBA Draft, D-League, Faith, Family, Basketball.

Reel Asian 2013 Film Review - Tales From The Dark 1

Simon Yam wanted to tell a ghost story but with a Hong Kong feel. He did not want an ultra violent Japanese or Korean horror film. He wanted nice ghosts in his film. The result was Stolen Goods the first of three stories in this feature. The film focuses on the poor people in Hong Kong.  The former British colony is very expensive. The poor have less and less as the cost continue to rise.  The rich have more than enough but continue to want more. Yam represents the rich with a ghosts named Boss Lee who's constant refrain is I'm so full but continues to shove fresh food into his mouth Yam's common man character Kwan lives in an apartment that is only large enough for a single bed. His main companions are two ratty dolls one of which is a ghost that hovers in his space as he rants and raves.

For Simon Yam's first feature he has chosen to discuss the social inequalities in his homeland. The gap continues to grow between the rich and the poor leading a large part of the population to be marginalized. Yam shows that that every growing group may become desperate. They are willing to work hard but may resort to actions that will be noticed by the elite.

The second film A Word in the Palm is more of a comedy than a scary movie. Master Ho (Tony Leung) is a palm reader who has decided to heed the advise of his wife and shut down his shop. The fact that he is able to see ghosts has put a strain on his relationship with his her and his son.  His wife is also not happy with his relationship with Lan (Kelly Chen) the owner of a spiritual crystals store who sports special contacts that reputedly help to see ghosts. On this last day he is visited by a high school swim coach and his wife. Ms. Cheung has recently felt a presence near hear along with the feeling of dampness and the ocean. Master Ho sends them to the crystal store as their case will take some work and he is closing down. Next Fai is visited by the ghost in question a young swimmer on the coaches team Chan Siu-ting. Master Ho and Lan team up to find out about Siu-ting's background to determine the steps needed to lead the spirit into the next world.

The last segment  of the production Jing Zhe is both violent and intense. It centres on a roadside villain basher named Chu (Siu Yam-Yam). Customers come to her street corner operation, provide pictures of the targets of their anger and she hits them with a shoe like tool chanting horrible events and consequence that will befall the target and their family. On occasion customers will feel that Chu is not going far enough and take the tool to beat the pictures themselves. Toward the end of her night a young girl appears requesting her services.  The girl has four targets 3 women and a man. Reluctant at first Chu agrees to see her. The girl gets into a trance like state as she takes the tool and then another item from Chu and beats the targets with increasing frantic pace leading to catastrophic consequences for the targets that appear in real time on screen.

The skills of the makeup team were definitely on display in all three segments of the film. Notable was the work done on the fat ghost in the Simon Yam contribution along with the presentation of the twins. The waterlogged look of Siu-ting in the second feature was very convincing and as were the visual effects on her eyes. The makeup on the girl in the third piece was understated but effective.

Tales From the Dark 1 is a gripping anthology that has powerful themes and pivotal moments. It is not ultra violent the first two features actually have some funny moments and at their peaks barley break into the realm of horror. The Fruit Chan feature is correctly placed as the anchor hitting many of the right horror notes as a delicious revenge piece. The direction is more psychological than psychotic and as an overall work it's a film I can recommend.

*** out of 4.

Tales From The Dark 1 | Simon Yam / Lee Chi-nagi / Fruit Chan | Hong Kong | 2013| 112 minutes.

Hong Kong, Horror, Fantasy, Excess, Gluttony, Poverty, Spirit World, Revenge.

Reel Asian 2013 Film Review - Without Shepherds

Pakistan is a very misunderstood country.  Historically it is the birthplace of many significant ancient societies and a centre for art and culture. Currently it is viewed as a very dangerous place subject to suicide bombings and drone strikes and an apparent safe haven for terrorists. It's viewed as acting like Western ally when its time to collect aid then switches to a rogue state on other occasions.

It's under this setting that director Cary McClelland and co-director/cinematographer Imran Babur embarked on a two-year project to follow six Pakistanis from different walks of life to obtain each participant's individual vision of the country and an impression of the country as a whole.

The film begins by displaying a map of Pakistan on screen a device that is used throughout the film to situate the players. The map shows where Pakistan was cut out from colonial India and its other neighbours Iran to the West, Afghanistan to the North and China to the East. Next we meet truck driver Abdullah Khan who is at a Northern town looking to pick up a load. He has a heated discussion with his suppliers about the nature and size of the load not being the same as promised. We meet model Vaneeza Ahmad as she is being interviewed for television. The male interviewer is obviously uncomfortable with her looks, success and presence however Vaneeza that effect what she has to say. Journalist Labia Yousafzai is introduced while touring a northern refugee camps speaking to women and families learning their stories of escape from Afghanistan. Musician Arieb Azhar serves as the narrator of the film. He has lived a third of his life outside of Pakistan including 13 years in Croatia.

The most recognizable face and name in the production is cricket legend turn politician Imran Khan. He felt obliged to become involved politically after Musharraf seized power. Khan has an energy that the people will follow. His main refrain at his rallies is: What is the meaning of Pakistan? Answer: There is no God but God. Khan sees Musharraf as a fraud and the only way forward for the country is to fight for democracy. He also senses hypocrisy from the West. The want democracy in Iran and forced out Saddam Hussein but in Pakistan they are perfectly willing to work with Musharraf who took power by force.  The last member of the group that McClelland follows is Mohammed Ibrahim a student who while estranged from his family took up with the Mujahideen fighters. At the time they filled a void in his life providing friendship and guidance.

The production team follows the activities of the group around the country. The camera is along for the ride as Abdullah Khan takes his cargo in his elaborately decorated truck from the North end of the country to the South. He always stops to take time out to pray as he traverses his route.  He commands respect when he is behind the wheel of the truck but laments that he is not treated well by is fellow citizens when he is not.

Imran Khan is seen a various rallies for the PTI Party and at home with is family. A touching sequence is his description of the fear that  his older son has for his safety using the assassination of Benazir Bhutto as a reference point. Imran was jailed when he first started on his political course. As he describes it by the same people that cheered him when he led Pakistan to their first every Cricket defeat of India. He noticed that there were many good people in jail and the murders and thieves who should be in jail were running the government. Khan sees no difference between the current ruler Zardari and Musharraf proclaiming that they are both cut from the same cloth.

One of the top exchanges in the film comes between Vaneeza and the factor that is producing her designs. The factory heads explanation for why the colours are running is that the women don't know how to wash properly. He proceeds to demonstrate a method that no one would ever do. Vaneeza comments that this is an example of the problem with the country. Everyone is only committed to do the minimum to get by.

The editing team lead by Fasil Azam did excellent work on the film. Key examples are Laiba Yousafzai's interview with a young boy who is being sent back to Afghanistan. He remarks that if there is no school close by he will follow in his father who was martyred in the war's footsteps. The boys tears are closely followed by Mohammed Ibrihim with his face buried in his hands crying as he discusses the reasons why he left the Mujahid and what he has considered doing given his current state of mind.  Another great transition is from the Khan family heading for a hike on a lush green trail to Ibrihim and a friend hiking in the narrow passages in the high desert. Ibrihim's friend recites the theme behind the title of the film. Animals in these hills are often without shepherds they are allowed to roam free and no matter how far they go they will always come home by dusk.  That freedom is also the essence behind Imran Khan God is God refrain.

Without Shepherds is a ground level look at today's Pakistan thorough 6 very different set of eyes. It's a fascinating study of a Country born out of colonialism and virtually in a constant state of conflict with its neighbours ever since. But its citizens see a lot of good and potential in the State if one is willing to stand up and fight for it. Unfortunately many residence see different avenues to pursue the goal or worse do nothing allowing the status quo to continue.

*** 1/2 Out of 4.

Without Shepherds | Cary Mclelland / Imran Babur | U.S.A. / Pakistan | 2013 | 89 Minutes.

2008, Transition, PTI Party, Cross Country Travel, Religion, God, Freedom, Mujahideen, Mujahid, refugees, Taliban, Terrorism.

Reel Asian 2013 Film Review - Evangelion 3.0

Evangelion 3.0 is the third installment of the Rebuild of Evangelion series. The episode starts in earth's orbit. Askura Langley Shikinami is left on her own in Eva Unit 2 to battle the Steele drones released from Eva Unit 1 piloted by an unconscious Shinji Ikari. Unit 1 responds independently to destroy the drones before returning with Askura to earth.

Under the order of WILLIE Colonel Misato Kastsurgi Shinji is revived and fitted with an explosive collar that will go off by the colonel's hand if Shinji pilots another Eva. Confused by his treatment under the supervision of  his former allies Shinji demands an explanation only to learn that he has been suspended for 14 years in Eva Unit 1. Following another Drone attack Rei Ayanami arrives in seperate Eva unit rescuing Shinji before the WILLIE crew can react to detonate the choker taking him to NERV headquarters and its commander his father Gendo Ikari.

Hideaki Anno's writing of the opening sequence is chaotic and challenging to follow at best. It's chalked full of technical terms for the ships, maneuvers and defensive and offensive capabilities that the viewer is easily lost. If this is the viewers first experience with the series there are no clues to decipher who are the good guys and why each side is fighting the other. The best part of the opening portion of the scrip is Shingi's undefined role in the events that have taken place and the unexplained reason behind the cold treatment by his former colleagues.

The production does improve when the narrative focuses on NERV Headquarters and the interactions between Shinji, Kaworu Nagisa, Rei Ayanami and his father Gendo. The interplay between Shinji and Kaworu is very entertaining and the exchanges between the two are a highlight of the film.

The visuals are very well done especially the presentation of the ruins of NERV Headquarters full of  jagged edges and prickly points dominated by blood red structures giving the appearance of a location that is constantly suffering the effects of repeated volcanic eruptions. The Evas and the fleet's other ships are expertly crafted. Another superior visual is the WILLE fleet traveling through space led by Colonel Katsuragi at the helm of the Wunder. 

Production General Manager Anno assembled a strong group of actors to voice the characters. The standout of the ensemble is Yuko Miyamura voicing the overly aggressive Asuka Shikinami. Miyamura rises to the challenge of the emotionally intense Asuka who verbally abuses both living and inanimate objects during battle and is always looking to react physically to solve a problem. Fumihiko Tachini is notable at Shingi's father Gendo pulling the strings from his perch at NERV headquarters. Akira Ishida is also strong as Kaworu Nagisa in his role to gain Shingi's trust showing that the can work together first side by side on the piano then as a team in an Eva Unit.

The sound department led by Haruka Matsushita did their job on this feature.  Their efforts during the battle scenes are remarkable. Their work complements the visuals of several catastrophic events on screen. However the peak of their contribution to the piece has to be in the first battle sequence when Asuka battles the drones in her attempt to secure Shinji in Eva Unit1.

Evangelion 3.0  is a film that I would recommend to fans of the original television series and Anime fans in general. The opening sequence goes too far in depth on the minutia of the mechanics but the story builds on the deck of the lead WILLE vessel and grows when the action shifts to NERV.  The plot does suffer from middle instalment malaise as in the end its purpose is to set the tale up for the final episode. The goal of the production was to introduce the Neon Geneis Evangelion series to a wider audience that were not familiar with the television series.  With the two prior titles and this film that includes a hint towards the finally at the end the production team have hit their goal.

*** out of 4.

Evangelion 3.0 | Hidaeki Anno,Mahiro Maeda, Masauki, Kazuya Tsrumaki | Japan | 2012 | 96 Minutes.


Japanese, Anime, Neon Genesis Evangelion, tetralogy, Post Apocalyptic world, fantasy, science fiction.