the details of the calliope part of the bonus episode are my favorite part, because despite what the vast majority of mainstream media seems to believe, you don't actually need to explicitly show this type of violence at every given opportunity
first, the single scratch on madoc's face - he's committed the same act of violence against her that erasmus fry did for nearly a century, taken inspiration by force for the first time (calliope never stopped fighting, no matter how long it’s been, this isn’t right and it never will be)
and then his nose, whole in one scene and broken in the next - he's got the success and fame that he was desperate for, but it's still not enough (will it ever be enough, will he ever be satisfied, where does it end), and calliope is still fighting tooth and nail
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if some horror subs on reddit catch you in a good mood and tell you that 'the fear footage' is a good found footage movie, tell them they have to get up for 5th grade in the morning and they shouldnt be up this late
what really sent me over the edge was this:
my original horror oc her name is meagan do not steal
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finally watched ocean’s eleven the other day and i can’t stop thinking about danny & rusty’s drift compatible telepathy
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Accès au cinéma invisible vous donne rendez-vous, ce mercredi 18 octobre à 20h 11 rue des Olivettes (Nantes), pour découvrir la plus belle adaptation au cinéma de l'écrivain Julien Gracq, Rendez-vous à Bray, sorti au cinéma en 1971.
L’auteur florentais est réputé difficile à transcrire sur grand écran : grande densité narrative, paysages flous et sensibilité à fleur de peau.
C’est André Delvaux, réalisateur belge adepte du surréalisme et développant un style de mise en scène qualifié de réalisme magique, qui va se lancer dans cette adaptation.
Delvaux est un féru de littérature, ayant à ce moment déjà adapté plusieurs fois au cinéma Johan Daisne (Un homme, un train avec Yves Montand en 1968), il continuera en 1983 avec Suzanne Lilar (Benvenuta avec Fanny Ardant) puis Marguerite Yourcenar en 1988 (L’Œuvre au noir avec Sami Frey).
En adaptant la courte nouvelle Le roi Cophueta tiré du recueil La presqu’île (Éditions Corti, 1970), Delvaux s'empare à la fois de l'univers restitué par Gracq, mais aussi de sa sensibilité. Il transpose son goût pour le cinéma à une œuvre pleinement littéraire. Avec le jeu d’Anna Karina et Matthieu Carrière, il réussit alors à transmettre aux spectatrices et spectateurs le mystère dont Gracq avait le secret.
En cela, Rendez-vous à Bray est autant un hommage au pouvoir de la littérature qu'à celui du cinéma. Le film fait la jonction entre ces deux pratiques pour devenir une œuvre à part entière encore trop méconnue en France, récompensée du prestigieux prix Louis-Delluc à sa sortie en 1971.
Projection gratuite à Pol-n, 11 rue des Olivettes (Nantes), à 20h le 18 octobre 2023.
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as Easter fast approaches i would like to take this moment to tell all my newer followers about the incredibly sacrilegious Easter Jesus zombie movie idea that my friends and i came up with freshman year of college
the basic premise is that Jesus rises from the dead every year at Easter and, as a reanimated dead guy (don’t start with me about the nature of the trinity ok), brings with him the zombie apocalypse
but since it’s Jesus who’s the zombie the movie protagonists can’t kill him normal ways and instead they have to sin as hard as possible so that enough sin will accumulate that Jesus will once again die for humanity’s sins and the zombie apocalypse will end
so the movie follows a group of weary Terry Pratchett-style atheists (they know Jesus exists, but they don’t *believe* in him as it’ll just encourage him) as they do as many Seven Deadly Sins as quickly and intensely as possible to put Jesus and his army of zombie Evangelicals (infected by taking Communion, the literal blood/body of zombie Christ) back down before they destroy society altogether
there are gory Wrath scenes and needlessly objectifying Lust scenes and they hire the chocolate guy to do gorgeously crafted Gluttony scenes and get some real good naps in for Sloth scenes etc etc
at the end, our heroes have managed to sin enough that Jesus dies again and his horde of Evangelical zombies become human again
that is, until next Easter, when Jesus will rise again.....
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watching savage grace and all the reviews on letterboxd are like 1 star and people being like "OH MY GOD I ONLY WATCHED THIS FOR HUGH DANCY BUT INCEST ??? A WHOLE MOVIE ABOUT INCEST ?? HOW TERRIBLE! HOW HORRIFYING! HOW COULD YOU EVER PUT THIS ON FILM!!! DIGUSTING DISGUSTING DISGUSTING" like ok as if yall didnt come here bc of hannibal where a guy literally eats people why are you suddenly puritan
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The director’s cameo in
Stage Fright, 1950.
Dir. Alfred Hitchcock | DOP Wilkie Cooper
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