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Description
Antec C3 ARGB ATX | Micro-ATX | ITX ARGB Mid-Tower Gaming Chassis – WhiteThe Antec C3 ARGB ATX Mid Tower Gaming Chassis combines elegant design and high performance features to create an exceptional gaming experience. With a 270 full view tempered glass panel, the chassis offers a panoramic view of your hardware, complemented by an ARGB illuminated inclined power supply shroud for a stylish, modern aesthetic. Its honeycomb mesh design on the top, bottom, and side ensures optimal airflow, while magnetic dust filters provide
The Antec C3 ARGB ATX Mid Tower Gaming Chassis combines elegant design and high-performance features to create an exceptional gaming experience. With a 270° full-view tempered glass panel, the chassis offers a panoramic view of your hardware, complemented by an ARGB-illuminated inclined power supply shroud for a stylish, modern aesthetic. Its honeycomb mesh design on the top, bottom, and side ensures optimal airflow, while magnetic dust filters provide efficient dust prevention and hassle-free cleaning.
Engineered for maximum cooling efficiency, the C3 supports simultaneous installation of up to 8 x 120mm fans and accommodates top 360mm and side 240mm radiators for versatile water-cooling setups. Pre-installed with four PWM ARGB fans, including three reverse fans for side intake and one rear fan, the chassis delivers superior airflow and customizable lighting. The spacious interior supports GPUs up to 415mm, CPU coolers up to 160mm, and an optional 120mm fan by removing the HDD cage, providing ample room for powerful configurations.
User-friendly features make the C3 an ideal choice for gamers and PC enthusiasts. A Type-C 3.2 Gen 2 port enables high-speed data transfers, while a 23mm cable management space behind the motherboard ensures a neat and organized build. The tool-free tempered glass panels with drop-proof bolts and fixing studs allow for easy hardware installation and maintenance. Combining style, functionality, and airflow optimization, the Antec C3 ARGB chassis is perfect for gamers looking to showcase and cool their high-performance setups.
FEATURES:
- 270° Full-view tempered glass
- Massive airflow via honeycomb mesh
- Versatile configuration and ample space for water cooling
- Pre-installed 4 x ARGB PWM fans with built-in fan controller
- 4 x dust filters
- Tool-free design
SPECIFICATIONS:
- Form Factor_ Mid Tower
- Materials: Steel + Plastic + Glass
- Mainboard Support_ ATX, Micro-ATX, ITX
- Front Access & Controls_ Power, LED Control Button, USB 3.0 x 1, Type-C 3.2 Gen 2 x 1, Headphone / Mic Combo Jack
- Side Panel_ 4mm Tempered Glass
- Expansion Slots_ 7
- 3.5″/2.5″: 1/1
- 2.5″: 3
- Fan Support_
- Top: 3 x 120 / 2 x 140mm
- Side: 3 x 120mm
- Bottom: 1 x 120mm (Remove HDD Cage)
- Rear: 1 x 120mm
- Included Fans_ 3 x 120mm PWM ARGB reverse fans on right side + 1 x 120mm PWM ARGB fan in rear
- Radiator Support_
- Top: 120 / 140 / 240 / 280 / 360mm
- Side: 120 / 240mm
- Rear: 120mm
- Clearance:
- Max GPU Length_ ≤ 415mm
- Max CPU Cooler Height_ ≤ 160mm
- Max PSU Length_ (Include cable)≤ 195mm
- Dust Filter_ Top / Right Side / Bottom
- Product Dimensions_ 47 x 21 x 48.5 cm
- Product Weight_ 7560g
- Warranty: 2 Years
WHAT’S IN THE BOX_
- Antec C3 ARGB ATX Mid Tower Gaming Chassis – White x1
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4.2 ★★★★★
Based on 9 reviews
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Product Reviews
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
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Reviewed in the United States on May 3, 2026
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork.
The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable.
Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere.
This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching.
The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography.
Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist).
Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really.
While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
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