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But given that the roles of LGBTQ characters expanded and they graduated from the sidelines into the mainframes, they often ended up being tortured or tragic, a craze that was heightened during the AIDS crisis from the ’80s and ’90s, when for many, to get a gay gentleman meant being doomed to life during the shadows or under a cloud of Dying.
To anyone common with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, not to mention the depressive anguish that compelled Shinji’s true creator to revisit the kid’s ultimate choice — Anno’s “The top of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-screen meditation on 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.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath in the girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other children to the first time.
Well, despite that--this was one among my fav Korean BL shorts And that i absolutely loved the delicate and soft chemistry between the guys. They were just somehow perfect together, in a way I can not quite put my finger on.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
Duqenne’s fiercely decided performance drives every frame, as being the restless young Rosetta takes on challenges that nobody — Allow alone a kid — should ever have to face, such as securing her next meal or making sure that she and her mother have running water. Eventually, her learned mistrust of other people leads her to betray the one particular friend she has in order to steal his career. While there’s still the faintest light of humanity left in Rosetta, much of it has been pounded out of her; the film opens as she’s being fired from a factory task from which she needs to be dragged out kicking and rachael cavalli screaming, and it ends with her in much the same state.
Iris (Kati Outinen) works a useless-conclusion career at a match factory and lives with her parents — a drab existence that she tries to escape by reading romance novels and slipping out to her community nightclub. When a person she meets there impregnates her and then tosses her aside, Iris decides to acquire her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely capable of string together an uninspiring phrase.
And still, as the number of survivors continues to dwindle along with the Holocaust fades ever more into the rear-view (making it that much less complicated for online cranks and elected officials alike to fulfill Göth’s dream of turning generations of Jewish history into the stuff of rumor), it's got grown a lot easier to appreciate the upside of Hoberman’s prediction.
But Kon is clearly less interested in the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors effect that wedges the starlet even further away from herself with every subsequent sexgif trauma — real or imagined — until the imagined comes to think a reality all its personal. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of a future in which self-id would become its very own kind of public bloodsport (even inside the absence of fame and folies à deux).
Navigating lesbian themes was a tricky undertaking while in the repressed surroundings on the early sixties. But this revenge drama experienced the good thing about two pinay porn of cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, while in the leading roles, as well as three-time Best Director Oscar winner William Wyler for the helm.
Even better. A testament to your power of massive ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to use it to try and do nothing less than save the entire world with it.
There’s a purity for the poetic realism of Moodysson’s filmmaking, which generally ignores the small-finances constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral consolation for his young cast and the lives they so naturally inhabit video sex for Moodysson’s camera. —CO
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Cut together with a diploma of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are sex tube crazed but always character-driven, the music feels like it’s sprouting directly from the drama, and Besson’s eyesight of the sweltering Manhattan summer is every little bit as evocative since the film worlds he designed for “Valerian” or “The Fifth Ingredient.