#Sebastian Gutierrez

[rhetthammersmithhorror]

She Creature | 2001

[spiderliliez]

Batty and Alba engaged in this quiet verbal foreplay. LEOPARD SKIN (2022) [+] LGBTQ 🏳️‍🌈 [+] GAITE JANSEN [GIF Collection] 🌷 [+] ..more on CARLA GUGINO 🌼

[albaandbatty]

Most underrated actress alive

[sesiondemadrugada]

Elizabeth Harvest (Sebastian Gutierrez, 2018).

[cemyafilmarsiv]

Gothika 2003

Psiokolojik Gerilim

Ters köşeleri severim ve bu filmin güzel dönemeçleri var. Filmi dikkatli izleyen birisi detayları yakalayabilir ancak bu da zaten ters köşenin içine çeken kısım. Dikkatli seyirci tarafından daha çok beğenilmesinin sebebi sanırım bu.

Psikolojik gerilim ve dedektif filmleri sevenler için yazılmış bir senaryo.

Senaryo: Sebastian Gutierrez

Yönetmen: Mathieu Kassovitz

Oyuncular: Halle Berry, Robert Downey Jr. Penélope Cruz

Akıl Hastanesinde Geçen Filmler

[erstwhile-punk-guerito]

[cantsayidont]

Some recentish feature films I watched recently, none of them very good:

COMPANION (2025): Grating variation on M3GAN and SUBSERVIENCE, a sci-fi thriller about a young woman named Iris (Sophie Thatcher) who goes on a weekend trip with her dweebish boyfriend Josh (Professional Nepo Baby Jack Quaid) and learns that she is actually Josh's "emotional support robot." Thatcher is excellent, I liked that Iris remains the heroine rather than the heavy, and watching her maneuver around her designed-in limitations is fun, but costar Megan Suri is wasted, a subplot involving Lukas Gage and Harvey Guillén (who's awful) feels homophobic, and writer-director Drew Hancock keeps pushing the story to a level of meanness that's more unpleasant than exciting. (I kept muttering, "Dude, we get the point.") CONTAINS LESBIANS? No. VERDICT: Worth a look for Thatcher and the final scenes, but I'm sick of Professional Nepo Baby Jack Quaid's nepo baby face. CWs apply for intimate partner violence.

DELICIOUS (2025): Pompous German horror-thriller about a bourgeois German family, on holiday in the south of France, who hire a Spanish girl named Teodora (Carla Díaz) as their live-in housekeeper after hitting her with their car. However, Teodora has actually staged her own injury in order to insinuate herself into their lives and get under each family member's skin through an (inexplicably) elaborate campaign of psychological manipulation. This is ultimately a horror story, but it's so slow-paced and obliquely framed, and the main characters are so unsympathetic (by design), that your interest may wane well before the ghoulish denouement. Confident direction and attractive cinematography help some, but the actual plot makes no sense at all, and its class-divide themes are facile and reactionary. CONTAINS LESBIANS? No. VERDICT: Stylishly executed, but misses its own point. CWs apply for recurring motifs of animal injury and raw meat. (No points for guessing why.)

ELIZABETH HARVEST (2018): Creepy but uninvolving sci-fi thriller, written and directed by Sebastian Gutierrez, about a young woman called Elizabeth (Abbey Lee), newly married to a much older man named Henry Kellenberg (Ciarán Hinds), who learns that her husband is conducting a disturbing experiment in the one part of the house she's been forbidden to enter, and her husband's loyal servants Claire (Carla Gugino) and Oliver (Matthew Beard) are not what they seem. Pitched as Bluebeard by way of Frankenstein, it also bears some resemblance to Alex Garland's EX MACHINA (2014). You'll likely deduce much of what's going on within the first three minutes; the tougher question is why you should care. The disjointed story structure and lack of a clear POV work against any suspense, and Henry's actions never make much sense. As usual for a Gutierrez project, Gugino (who is Gutierrez's long-time girlfriend) has the meatiest part, but Claire's motivations make even less sense than Henry's. CONTAINS LESBIANS? There are definite homoerotic vibes between Claire and Elizabeth, but what we're expected to make of them is less clear. VERDICT: Emotionally remote and too much like a rough draft. CWs apply for intimate partner violence and quasi-incest themes, which are rather icky.

HOLLAND (2025): Self-consciously deadpan, frequently exasperating sub-Hitchcockian domestic thriller about small-town Michigan schoolteacher Nancy Vandergroot (Nicole Kidman, unbearably arch), who starts to fear that her genial optometrist husband Fred (Matthew MacFayden, also unbearably arch) may be leading a double life, and ends up starting an affair with her coworker Dave (Gael García Bernal, so twitchy that he often seems like he's tweaking) as they try to figure out what Fred is really up to. Feels like it wants to be a Hitchcock homage (with SHADOW OF A DOUBT probably the most obvious reference point), but it keeps missing the mark: The eventual reveal is painfully obvious early on, but where Hitchcock would have used the resulting dramatic irony to add suspense, HOLLAND spends far too much energy being smug and cutesy, and when it finally turns bloody, it doesn't have much impact — or much point. CONTAINS LESBIANS? No. VERDICT: I don't even like Hitchcock. CWs apply for intimate partner violence.

THE LAST SHOWGIRL (2024): Mostly dull, very depressing backstage drama, adapted from Kate Gersten's play BODY OF WORK, about an aging showgirl (Pamela Anderson) whose long-running Vegas show is finally closing, forcing her to confront the effective end of her career and her various uneasy relationships with the people around her, including two younger showgirls (Kiernan Shipka and Brenda Song) who expect her to be their mom, her estranged actual daughter Hannah (Billie Lourd), an older friend (Jamie Lee Curtis) with a ruinous gambling problem, and the show's longtime manager (Dave Bautista), who is also Hannah's father. It's well-acted, but its relentless parade of unleavened disappointment, alienation, and humiliation is grueling, and Professional Nepo Baby director Gia Coppola's main trick for making it not feel stagebound is to shoot every scene in queasy-making handheld camera. CONTAINS LESBIANS? You'd think, but no. VERDICT: Unrewarding and bleak.

OPUS (2025): Glib but curiously flat thriller about an eccentric, reclusive international pop star called Moretti (John Malkovich), who comes out of retirement after 30 years and invites half a dozen reporters to an album release party on his remote compound, including neophyte journalist Ariel Ecton (Ayo Edebiri). Ariel soon realizes that Moretti is now the leader of a weird cult, and may have a more sinister agenda than the usual pop star ego trip. Seems intended as a more grownup version of WILLY WONKA AND THE CHOCOLATE FACTORY, but it never really gets off the ground: Except for Ariel, the reporters get so little characterization that their fates seem completely arbitrary (third-billed Juliette Lewis barely has any lines, and Murray Bartlett is wasted), and there's never any sense of suspense or menace. The only one who has any fun is Malkovich, further expanding his portfolio of weirdos. CONTAINS LESBIANS? No. VERDICT: Not nearly enough fizz.

REVENGE (2017): Cartoonishly gross French rape-revenge actioner by Coralie Fargeat (later responsible for the tonally similar THE SUBSTANCE), about a hot blond woman (Matilda Lutz), mistress of a rich VC asshole (Kevin Janssens), who is raped by one of her boyfriend's disgusting hunting buddies (Vincent Colombe) for being too sexy, and then sets out for violent revenge after her boyfriend attempts to murder her to cover it up. Fetishistically bloody and frequently preposterous (the protagonist walks off a series of horrific mortal injuries with only aesthetic consequences), colored by Fargeat's rancid sexual politics, which make it pretty disagreeable even if you don't mind the gore. CONTAINS LESBIANS? I assume Fargeat is, given her cinematographic fixation on Lutz's body, but not in the story, no. VERDICT: Like if Andrea Dworkin had a fetish for puncture wounds. CWs apply for sexual assault and a great deal of extremely bloody violence.

[vintagewarhol]

[week-of-wonders]

Elizabeth Harvest (2018)

[lonesomedreamereccentriclover]

Happy Birthday Carla Gugino!

[mtonino]

Rise: Blood Hunter (2007) Sebastian Gutierrez

[elcineblue]

Very subtle story that changes direction as the scenes unfold. For a moment I thought it was the story of a young woman and her sugar daddy , but I was surprised. Spoiler: At first, it feels like a very dramatic setting that doesn't seem like sci-fi, but believe me everything changes.

[spiderliliez]

Alba and Batty... the cat the the canary. LEOPARD SKIN (2022) [+] LGBTQ 🏳️‍🌈 [+] GAITE JANSEN [GIF Collection] 🌷 [+] ..more on CARLA GUGINO 🌼

[albaandbatty]

Connecting Dots: Daisies (1966), Strip Nude For Your Killer (1975), Leopard Skin (2022) and La Marge (1976)

[moxyphinx]

Carla Gugino as Verna in THE FALL OF THE HOUSE OF USHER (2023)

[albaandbatty]

Alba and Batty can relate to Betty

Béatrice Dalle, Betty Blue, 1986