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To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, as well as the depressive anguish that compelled Shinji’s genuine creator to revisit The child’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-display meditation within the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
“Jackie Brown” may very well be considerably less bloody and slightly less quotable than Tarantino’s other nineties output, but it really makes up for that by nailing all of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same gentleman who delivered “Reservoir Puppies” and “Pulp Fiction” was still lurking behind the camera.
In her masterful first film, Coppola uses the tools of cinema to paint adolescence being an ethereal fairy tale that is both ridden with malaise and as wispy being a cirrus cloud.
Within the audio commentary that Terence Davies recorded for that Criterion Collection release of “The Long Working day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual sense of disregard: “For a repressed homosexual, I’ve always been waiting for my love to come.
Duqenne’s fiercely determined performance drives every frame, because the restless young Rosetta takes on challenges that no person — Permit alone a toddler — should ever have to face, such as securing her next meal or making sure that she and her mother have working water. Eventually, her learned mistrust of other people leads her to betray the a single friend she has in order to steal his job. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded out of her; the film opens as she’s being fired from a factory task from which she should be dragged out kicking and screaming, and it ends with her in much the same state.
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Still, watching Carol’s life get femdom porn torn apart by an invisible, malevolent drive is discordantly soothing, as “Safe” maintains a cool and regular temperature every one of the way through its nightmare of a third act. An unsettling tone thrums beneath the more in-camera sounds, an off-kilter hum similar to an air conditioner or white-sound machine, that invites you to sink trancelike into the slow-boiling horror of it all.
The Taiwanese master established himself given that the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives in the ‘90s much the way “Gertrud” did while in the ‘60s: a film of such luminous beauty and singular style that it exists outside with the time in which it absolutely was made altogether.
Navigating lesbian themes was a tricky undertaking from the repressed environment on the early xnx video sixties. But this revenge drama had the good thing about two of cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, inside the leading roles, as well as three-time Best Director Oscar winner William Wyler at the helm.
foil, the nameless hero manifesting an imaginary friend from each of the banal things he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I fuck like you wanna fuck, I'm good, able, and most importantly, I'm free in the many ways that You aren't.
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Perhaps it’s fitting that a road movie — the ultimate road movie swinger porn — exists in so many different iterations, each longer than the next, spliced together from other iterations that together make a sense of the grand cohesive whole. There is beauty in its meandering quality, its focus not on the sort of finish-of-the-world plotting that would have Gerard Butler foaming for the mouth, but on the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
Established in the present day british porn with a bold retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to a rehab for gay porrn and lesbian teens. The patients don pink and blue pastels while performing straight-sexual intercourse simulations under the tutelage of an exacting taskmaster (Cathy Moriarty).