Again I have made some pictures of me and played a bit with the skysettings - amazing results.

You find yourself here on Ayhan´s personal blog. If you decide to stay and dip inside into my privacy then you need to know that you will find here every thing in connection with myself and my RL & SL what touches my heart and seems important to me. This blog contains also homoerotic art - adult material! So you are warned. If you dont like this topics >>> please scat!
Nicolas Winding Refn's Valhalla Rising does for Norse mythology what Stanley Kubrick's 2001: A Space Odyssey did for space exploration. For that reason alone it's bound to be misunderstood, misinterpreted, and reviled by viewers in search of some easily digestible entertainment. Those who don't mind a bit of a challenge, however, will savor Refn's methodical, deliberate, and hallucinatory approach to the tale of a mute, one-eyed warrior's slow descent into hell. Broken up into six chapters, the film unfolds at a creeping pace. But it's never boring; with mounting dread, stunning cinematography, sudden blasts of violence, and a mesmerizing score by Peter Kyed and Peter Peter, it's unceasingly intense, and impossible to look away from.
Somewhere in the Scottish highlands, a stoic warrior named One-Eye (Mads Mikkelsen) languishes in a hillside cage. He is a prisoner, held against his will and forced to fight for his own survival. One day, while bathing in the river, he finds an arrowhead, and uses it to escape. After impaling his warden's head on a stake, One-Eye is followed over a hill by a young slave named Are (Maarten Stevenson), who previously tended to him while he was locked up. Eventually, the pair crosses paths with a group of Christian crusaders, and joins them on their journey to Jerusalem. After becoming lost at sea in a dense fog, the weary travelers discover that they have drifted far off-course. Now stranded in a strange land, they are forced to confront their deepest fears while struggling with the discovery that they are not alone.
Giving the film the look and feel of a particularly stark Hieronymus Bosch painting, cinematographer Morten Søborg masterfully conveys One-Eye's supernatural clairvoyance and externalizes the supporting characters' existential paranoia, negating the need for dialogue through the use of captivating imagery that's steeped in symbolism and subtext. Patient viewers will find it a deeply rewarding, transcendently beautiful experience.