#about him and her

[cantsayidont]

More hateration holleration. No poster art; I didn't like any of these movies and don't feel like looking at their posters again.

ABOUT HIM & HER (2023): Experimental romantic drama, set in 1989 and "based on a true memory," about an unnamed man (Callan McAuliffe) and an unnamed woman (Cristina Spruell) who are accidentally connected by a phone company mishap. Over a series of subsequent long-distance conversations, they become emotionally entangled and eventually agree to meet, but they're both so afraid that finally seeing each other face-to-face will shatter their delicate intimacy that they spend the entire second half of the film trying to avoid looking at one another, even though they both desperately want to. The characters' interactions are carefully staged throughout (at first, they're just voices, and we don't get a look at either of their faces until they're both in the hotel room), but this initially touching conceit eventually becomes SO contrived that the story's genuine poignancy is undercut by a growing resentment at being jerked around in such a heavy-handed way. This is perhaps the ultimate romantic idiot plot: Despite their insecurity, the characters are both skinny, conventionally attractive, straight white cisgender adults of similar age and class; the only thing keeping them apart is their reluctance to (literally) just open their eyes, and there's no reason to assume that even a failure of nerve on that front would be irreconcilable save for the filmmakers' stubborn commitment to the melancholy bit. (The end credits claim that the lead actors never saw each other or even learned each other's name until the film's premiere.)

I.S.S. (2023): Upsettingly grim apocalyptic drama — not really a thriller, though billed as one — about six astronauts aboard the International Space Station, three Americans (Ariana DeBose, Chris Messina, and John Gallagher Jr.) and three Russians (Masha Mashkova, Costa Ronin, and Pilou Asbæk), whose respective governments order them to turn on each other as nuclear war breaks out on Earth. Well-acted and generally well-made, but there's little real suspense because an unbearably bleak outcome is always a certainty, making the fates of the individual characters a more or less moot point; the only leavening factor the script can offer is a contrived subplot involving an experimental treatment for radiation poisoning, which is clearly too little, too late in the face of the global nuclear holocaust the characters see unfolding on the surface below. A stressful downer that makes Lars von Trier's nightmarish 2011 end-of-the-world movie MELANCHOLIA seem like a screwball comedy by comparison.

PARALLEL (2024): Unconvincing sci-fi drama, cowritten by stars Aldis and Edwin Hodge (and based on a 2019 Chinese film) about unhappy spouses Vanessa (Danielle Deadwyler) and Alex (Aldis Hodge), who are staying in a remote lake house with Alex's brother Martel (Edwin Hodge) as they struggle to come to grips with the recent death of their young son. The woods surrounding the house are also a nexus of parallel timelines, where alternate versions of the characters seek to supplant one another in what they hope will be better versions of their previous lives. It's nice to see this kind of sci-fi allegory with an all-Black cast, but it doesn't really work dramatically, marred by an over-reliance on exposition and some rather arbitrary rules (which the characters accept far more readily than it seems like they should under the circumstances) that make the plot's rapidly escalating violence hard to swallow. Aldis Hodge comes across well as always, but Deadwyler's part doesn't allow for much emotional nuance, and Edwin Hodge is stuck in an awkward third-wheel role.

PASSAGES (2023): Glum, dishearteningly biphobic French drama about a married man called Tomas (Franz Rogowski) who spurns his husband Martin (Ben Whishaw) for a younger woman called Agathe (Adèle Exarchopoulos) and then attempts to retreat to Martin after Agathe becomes pregnant, eventually managing to alienate them both. Why either was ever interested in him in the first place is never very clear, as Tomas is unattractive, solipsistic, and thoroughly unsympathetic (though Martin is no prize himself, leaving Agathe as the most tolerable character basically by default). All of the characters are thinly drawn, and some interesting directorial choices can't make up for the film's conspicuous lack of warmth or its aggravating determination to equate Tomas's bisexuality (a word the script studiously avoids) with his consuming selfishness and inability to commit emotionally.

[time-woods]

Accessorize ! Accessorize ! Accessorize !

based off of how my dad got his ears pierced))

[marypsue]

Keep seeing that post where OP starts like 'Thinking about...grieving the undead' and then adds on about like. Real life situations where people have not died but have left your life and you would have reason to grieve them.

All respect, that's an important concept, but that is not what I am thinking about when I read 'grieving the undead'.

[biggest-gaudiest-patronuses]

historical drama/sitcom where two gay best friends (woman and man) get lavender married--and proceed to spend the Fancy European Honeymoon their parents paid for acting as each other's wingman

[heavenbarnes]

not being able to find older bf!simon around the house and while you’re looking for him, you catch something out the window-

nearly all the women in your neighbourhood gathered at the end of your driveway

you come outside to investigate only to find them with their attention glued to the front of your car, it’s not till you walk around the front you find the lower half of simon sticking out from under it

on his back, knees bent, massive boots planted into the concrete, bare arm occasionally stretching out to find another tool

“you alright, si?”

you hear him grunt before he’s calling out to you

“yeah, i’m right sweet’art- sortin’ out that bit thas’ been givin’ y’grief”

breaking your gaze from his massive thighs flexing under his jeans, you scan back over the crowd that’d formed

all of them married, all of them a good ten years older than even he was- you couldn’t really blame them really, you had eyes

you could hear him shuffling out from under the car before he suddenly straightened to full height, wiping greasy hands on the front of his old-white-singlet

he pulled up the bottom of it to swipe his forehead and you think you heard someone gasp

wrapping a firm arm around you, he gives your backside a pat before he kisses the top of your head

“got t’keep y’safe, y’know?”

“thank you, baby- now be polite and say hello to your audience”

oblivious as ever to anything other than you, simon threw a look over his shoulder before he followed you back into the house

“oh, ‘ello ladies”

(someone throws a street barbecue and you force simon to talk to the other men around the burner and multiple husbands request him to start “doing that shit” in the garage with the door shut, please)

[mistercrowbar]

Sorry not sorry Shadowheart, from every Astarion romancer ever.

[habken]

Izuku and Inko

[chloesimaginationthings]

The moment FNAF movie Vanessa knew she fucked up

[pacipinka]

*taps mic* is this thing on? Yeah okay so every vampire in the vampire chronicles is turned at critical a moment in their lives and beyond just the body they are in when they are turned, their mentality stays at that standstill for their entire immortality, Lestat was turned against his will, he was clinging onto Magnus begging him to be freed, so he’s constantly seeking freedom and only finding loneliness and thus turning back to people again and again, however he can’t STAND being told what to do, since he desires agency in his life so desperately, Armand was turned after years and years of abuse and lack of control but such a desire for genuine love, by a man he ‘loved’ so wholly who he felt was barring his love from him, he needs control in his life, he needs a ‘master’ but he does not desire it, it does not fulfill him, he is trapped in a room but the door is unlocked! Louis was mourning his brother, he felt like an utter failure and so he’s always seeking family, seeking people he can care for, he can coddle, he can prove he is good too, but he loves people who either cannot stand coddeling and need a sense of looseness to live (Lestat) or people who grow out of coddling who prove to Louis he will always fail the people he loves (Claudia), Claudias turning, in many MANY ways mirrors lestats in that it was against her will, she was stolen from her home, and in her immortality she desires freedom but unlike Lestat does not have the agency/ form to get it, she will always be small, she will always be looked down on, even by Lestat who cannot deny how much she is just like him *taps mic* ARE YOU LISTENING TO ME!! NONE OF THEM CAN BREAK THE CYCLE!!! TO BREAK IT WOULD BE TO UNDO THE VERY FIBER OF THEIR IMMORTAL SELVES!! THE CYCLE IS THE BLOOD THEY DRINK IT IS THE HEART IN THEIR CHEST AND IT ROLLS AND ROLLS DOWN THE MOUNTAINS AND VALLEYS OF THEIR LOVE FOR EACH OTHER AND IT CAN NEVER BE STOPPED BECAUSE THEY WILL NEVER STOP LOVING EACH OTHER!!!!!!!!!!!!

[lauraneedstochill]

[every action has consequences]

🔪 inspired by this tweet:

[wanologic]

and they were roommates

[vaggieslefteye]

VEROSIKA MAYDAY, Succubus Pop Star | 2x09 - Apology Tour

"Blitz, there is a crowd full of people here who cared so much they throw an entire fucking party about hating you every year! Do you know how much you have to care to do something as stupid as that?"

[o3o-lapd-o3o]

(any time after the events of the vengeance saga & ithaca saga)

*under the ocean in poseidon's palace*

poseidon: *talking with amphitrite*

poseidon: i wouldn't wish that upon my worse enemy!

poseidon: *pauses and feels phantom pains from his old impalement wounds/scars*

poseidon: *eye twitching* ...unless of course...we're talking about my enemy, odysseus.

poseidon: *looking up at the ocean's surface from his underwater palace*

poseidon: fuck you odysseus, you know what you did!

amphitrite: ...

amphitrite: *sighs*

*meanwhile on ithaca*

odysseus: *yapping away with penelope whilst on a walk through the palace grounds*

odysseus: so then i said "cause i don't even have to kill you, i just have to avoid yo-"

odysseus: *violently sneezes*

penelope: ...

penelope: are you feeling unwell, my love?

odysseus: no i'm fine.

odysseus: i just get the feeling im being bad-mouthed...again

odysseus: *turns head and glares at the ocean*

[kagoutiss]

i’ll take care of everything

[paper-lilypie]

caught up to the manga…. space globalists arc beloved

[nat-20s]

Ten and Donna end up on a fucked up deadly space newlyweds show despite uh. Not being newlyweds but they get almost all the questions right. They start to sweat when the final question is "what's one secret desire you have involving the other?" And Donna writes "sometimes I wish I could occasionally shrink down the doctor real small so I could carry him around in my pocket and make sure he doesn't get lost' while Ten writes "sometimes I wish I was small enough that Donna could carry me around in like a cat backpack or maybe a shirt pocket" and they look at each other like AYYYYYY because not only are they deeply drift compatible they're also fuckin weird about it 💖