November respects the logic and temporality of the unconscious. And then we played those back to back. But which one is the abuser? At the end of the day, the most important things to me are what their personalities say about life.

The grindcore “This Body” brings the fugly with surprising abandon, throwing hissing industrial clatter atop an admirably tuneless dirge (you hardly realize it’s a way-late bid in the chopped n’ screwed sweepstakes until the 16 RPM guest rap drops in).

We trust the person who can’t quite focus it when bullets are flying or can’t quite focus it when the emotion is unexpected.

It wasn’t in focus, or they weren’t steady, or they moved when they wish they hadn’t moved.

Are other below-the-line artisans starting to see their own auteurist stamp in their collaborations?

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It was in the evening, and I just remember saying to her, “I’m going to come back and show you a cut.” She was on the phone with Robert, and I remember her saying, “Hold on a second, let me get you something.” She handed me this bag of all of these mini DV tapes that ended up being about 100 hours of footage.

Throughout the album, she talks to and interacts with a rather compassionate computer DJ named Kyoko, and her voice is robotic and synthetic on tracks like “Feedback” and the Daft Punk-sampling “So Much Betta”—not necessarily such a bad thing for an artist whose vocals often consist of unintelligible murmuring.

Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics.

He diagnoses the rot of our era through these solipsistic men that pour their prejudices and their insecurities into Adam, an open book eventually read back to its authors with a violence they cultivated themselves.

The soundtrack is particularly unnerving when we get a prolonged glimpse at how the pod people hatch out of the flowers blooming all over the city, which Kaufman stages as a simultaneous birth and rape. @#$%^&*()_-+=., characters. Crawford, born Lucille Fay LeSueur, was brought up in shady circumstances that are still shrouded in mystery and conjecture.

I’m young and don’t know anything, so I’m not good at not doing the scrappy, singular thing. It’s a billet-doux by proxy, ghost-authored, dictated to a machine. I love teaching, but I think of it more as we’re involved in excavation together with other people.

So did D.W. Griffith. Chuck Bowen, When Wilhelm Reich developed the concept of “sex economy” in 1931, he had in mind something like the way societal expectations or advertising may compel someone toward compulsory masturbation. Significantly more comedic, Alice Júnior focuses on a trans wannabe influencer, Alice (Anne Celestino), and her perfumer of a father, Jean Genet (Emmanuel Rosset), who move from Recife to a small town in the south of Brazil.

Even as Cam gives new meaning to “ghosting” when Alice watches “herself” online, the film’s strengths come from an intimate familiarity with the anxieties that accompany a life predicated on thriving in a gig economy still owned and operated by impenetrable customer service mechanisms and corporate channels of older, sweaty white men.
A Winter’s Tale, one of the most unremittingly ugly films in recent memory. But then the people who had interviewed them would leave in a look in the eye that could not hide the fear. Janet’s infamous wardrobe malfunction is commonly cited for her career’s precipitous decline, but her inability to evolve beyond her sex kitten persona is more judiciously to blame.
What to Watch if You Miss the "Game of Thrones" Cast. We have our individual lives, but we’re a part of a larger system. This disfigurement really suits her, giving a context to her character’s anger. Zhang never clues us in to how much of Up the Mountain is fictionalized, but it scarcely matters. But with the script, I always tell the actors that they can rewrite whatever they want to rewrite. For examples of the “worse,” simply look to the film’s montage of horrible tattoos of ankhs and tribal patterns emblazoned on white people’s backs—a hilarious sampling of cultural appropriation at its most oblivious and inept.

It wasn’t a stretch to figure out how I was going to film Shithouse, because even if I direct a ton of movies moving forward, I like coming from this place of always just caring about these characters and themes that are coming from these characters.

When the demons appear in the film, and in terrifyingly fleeting glimpses, Perkins understands them to spring from the deepest chasms of human despair. I hope to God I’ll never stop thinking about how weird it is. If there’s one regret here it’s that Crawford’s ego supposedly botched the ending, which now has her sobbing on a porch in the fashion of a woman’s issue movie from the ‘40s.

Though the second film, most commonly known in America as The Road Warrior, is often cited as the masterpiece of the series, the original Mad Max is still the most ferocious and subversive.

Arlette is one of countless women who’re damned if they do and if they don’t, yet somehow the men are able to rationalize themselves as the victims. Although Joan seems like an honest and empathetic woman, she’s actually a deceitful minion of Paimon, an avaricious king whom Annie accidentally helps to conjure from the dead. In fact, most people I know have ATTEMPTED READING it, and end up abandoning the book because of the reasons I just mentioned.

Editor’s Note: This entry was originally published on October 10, 2018.

Steve Macfarlane, Luca Guadagnino knew that a successful remake of Dario Argento’s Suspiria would need, at the very least, to take the material in a completely different direction.

My work always starts with a series of questions, and the answers come out of conversations that are happening with people in my community are what inform a lot of the aesthetic choices. 143 of 199 people found this review helpful. There was a moment when my mom, with her Alzheimer’s, said, “I really wonder what’s on the other side.” And it was the first time she had spoken like that. His story concerns a gang of thugs, torturers, and killers led by Ulric (Sean Bean), a devout soldier commissioned by the church to visit the lone, remote town in the land not afflicted by a fatal pestilence, where it’s suspected a necromancer is raising the dead.

If Dylan’s narcissism, and Pennebaker’s giddiness to capture it, suggested a cultural turn toward celebrity worship, then Dillon’s psychopath is the bizarre complement.

But given how Johnson’s latest work cheekily tries to short circuit death by using technology to reanimate a body, maybe the film did more than merely “scandalize” her at a young age.


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