
Living Forever
2018

2017
TV-14Director
Philip Gardiner
Runtime
67 minutes
Average Rating
No ratings yetSynopsis
Born in 1503, the mysterious medieval visionary, Michel de Nostredame (a.k.a. "Nostradamus") predicted the rise of Hitler, the nuclear destruction of Hiroshima, and the 9/11 attacks. Now his quatrains are predicting our immediate future and it would seem the end times are truly upon the world. According to the new interpretations, Nostradamus predicted that a mighty Islamic army of terror would rise up and set in motion World War III. China would conquer the entire East and much of the globe, and then a complete collapse of technology would spin the world into chaos like never before as the Antichrist rises in the West. Explore the prophecies and decide for yourself.
Overall Score
Minimal
Category Breakdown
LGBTQ+ Representation
The film contains no evidence of LGBTQ+ characters or non-cisnormative identities. The narrative remains strictly focused on geopolitical and apocalyptic prophecy.
Gender Representation
The documentary centers on historical and geopolitical movements rather than gendered dynamics. There is no evidence of female agency or the subversion of traditional hierarchies.
Racial & Ethnic Diversity
Mentions of Islamic movements and China serve a functional role in a clash-of-civilizations framework. These elements lack nuanced character representation or intersectional depth.
Religious & Cultural Diversity
The narrative leans into traditional religious eschatology and alarmist frameworks. It reinforces existing geopolitical anxieties rather than deconstructing Western institutions.
Disability Representation
There is no evidence of neurodivergent individuals or characters with physical or sensory disabilities in this work.
Strengths
Areas for Improvement
AI Analysis
2020 Nostradamus is a genre-specific documentary that prioritizes eschatological themes over human identity. The film functions as a speculative examination of historical texts, focusing on global catastrophe and prophetic quatrains rather than character-driven narratives. Because the subject matter revolves around macro-scale historical events and geopolitical shifts, the film lacks the structural elements necessary to explore intersectional representation. The narrative architecture is built around apocalyptic predictions rather than the exploration of social hierarchies. Ultimately, the work serves a functional role in discussing prophecy. It does not engage with marginalized identities or the disruption of conventional social norms, resulting in a very low diversity profile.

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