#cinema of world war two

[providence-park]

Liev Schreiber as Zus Bielski

DEFIANCE

2008 | Dir. Edward Zwick

[nellarw95]

Happy Heavenly Birthday Audrey 🎂💔

Audrey Kathleen Ruston

May 4,1929 - January 20,1993🙏🏻

We Miss You So Much 🕊️♾️

Buon Compleanno in Paradiso 🎂💔

4 Maggio 1929 - 20 Gennaio 1993🙏🏻

Ci Manchi Moltissimo 🕊️♾️

[guslar]

OH WOMEN! // the dawns here are quiet, 1972. directed by stanislav rostotsky

[moviescramble]

Sisu - Review

Sisu, as the title cards to Jalmari Helander’s film will tell you, is a word that cannot be translated into English. It means “a white knuckled form of courage and unimaginable determination”. Essentially, it’s a dogged determination to survive that makes the “bulldog spirit” look like a tea dance. The film opens with a bloody overhead map, revealing the extent of Nazi extermination policies…

[motionpicturelover]

"Brent jord" (1969) - Knut Andersen

(Transl.: "Scorched Earth")

Films I've watched in 2023 (30/119)

The title refers to the tactic the Nazis utilised when leaving the northern part of Norway during World War Two, they scorched an area the size of Denmark, forcibly relocated 60.000 people, burned down 11.000 homes, many schools, hospitals and more.

[anncanta]

‘The Rings of Power’ and what is adult cinema

I think I understand what the matter is. Why there is such a strange attitude towards The Rings of Power and constant reproaches from a number of viewers that the series is boring and that it lacks epicness and vivid characters.

This point of view (and it is the same point of view) has two reasons – age and an excess of content.

The thing is that modern viewers consume a huge amount of content. These are books, films, computer games, fan fiction, TV series. It is not that it is difficult to surprise such a viewer – it is actually possible to surprise them since they are quite naive – it is as if they have sensory fatigue. Or, rather, they have stopped perceiving shades and see only colors. And among the colors – only those that glow neon and fluoresce. What is below this threshold is not interesting to them, simply because their sensitivity is dulled, like (sorry for the comparison) for a user of psychoactive substances who needs to increase the dose to get the same sensations.

That's why the characters of The Rings of Power are dull for these viewers, the storylines are boring, and the whole story lacks epicness. And it doesn't matter that this story is not about epicness at all. It's about the price living beings pay for epicness. About what attempts to start a ‘great war’ or ‘correct big mistakes’ turn out to be. How good intentions and the desire to return to the ‘great past’ or start into a brilliant future end. What an attempt to cheat death leads to.

And here we come to the second reason. To adulthood. The series The Rings of Power is for adults. Not only because adult actors play in it. Young people play there too. But because it is written in an adult way, conceived in an adult way, and played in an adult way.

These heroes and this story do not have the problems of ‘who looked at whom in what way’, ‘who does not want to marry whom off to their beloved’, and ‘which armies clashed on this hill’. With all due respect to these problems. The Rings of Power is about something completely different.

In this film, one of the central scenes is the conversation between Galadriel and Elrond in Cirdan's workshop. The scene in which stubborn Elrond repeatedly brings Galadriel back to the question she doesn't really want to return to – has Sauron really left her consciousness? How did he get there? How far did he go?

And it's not about whether she's in love with Sauron or whether he has a chance to become her lover. I have the impression that the writers don't care about that at all. They care about Galadriel's relationship with Sauron inside. For them, evil is not a black blot that just wants to destroy the whole world (in this sense, the beginning of the second season and Sauron in his black form are also a parody of such decisions), but something that has crawled into your soul and become you. Where, at what point did it become you? How much has it become you? Can you resist it? These are very boring questions to answer – especially if you are uncomfortable with them.

The other pivotal scene is where Sauron tortures Celebrimbor. I know it's bland for viewers used to detailed violence and fan fiction. But it's monstrous. It's horrifying in its simplicity. You look at this beautiful creature who knows exactly where to shoot, so it hurts, but also so the victim stays alive. Then he comes over and moves one arrow slightly. You look at it and you want to scream.

And then Celebrimbor defeats him. Not because Celebrimbor is physically stronger, or a greater wizard, or has a deadlier sword. Because Celebrimbor speaks the truth. Because all these mind games are worthless when you look at them with clear eyes. So Celebrimbor looks. And makes Sauron look. That is stronger than any battle. As is the silence Sauron remains in, which he has tried so hard to drown out with the sounds of thunderous battle. That is why he weeps, and not because Celebrimbor has humiliated or insulted him.

The central part of the story is strange, imperfect, doubting Galadriel. After centuries of pain and loss, fear and anger, rage and grief, she believed that there was someone in this world who could understand her – and he turned out to be the Dark Lord. This makes their misunderstanding all the more vivid and profound – Sauron thinks that Galadriel rejected him because he did not offer her enough, but she did it because he offered too much. The noble Halbrand was enough – not the divinely handsome (another jab at fans of epic films with grandiose perfect men), but a man who was wrong and willing to admit his mistakes. By showing her that Halbrand was a deception, Sauron betrayed not her love, but her belief that there was a way back. Including for herself, who, no matter how absurd it may be, still cannot forgive herself for putting the helmets of her brothers and sisters in the mound.

This faith will be restored to her later by Adar – for a moment, for a few minutes, he returned to his former elven appearance and showed her that it is possible to forgive others and forgive herself. Having missed the opportunity to escape with the ring of power and accepted her help and their alliance.

All these plot lines, all these stories, all the events and heroes do not look bright and spectacular. Even the battles do not look spectacular. Do you know why?

Because battles are not spectacular. They are dirty, stinking, disgusting, and full of pain and blood. Eregion during the siege does not look like grandiose fortresses – it looks like bloody besieged cities. Like cities on which bombs fall. Like cities into which, like cockroaches, aliens crawl. This is what the truth looks like. Do not believe the artificial mouse running across the floor. Better check if the candle is burning out.

The problem and, in fact, the essence is that all these things are impossible to see and understand if you are a young person. In youth, all the stories are about love (with a capital letter), about war (heroic and brilliant), and about refined characters who proudly walk back and forth. They talk little because the young are not interested in conversations. They are interested in kissing and figuring out who is better.

But I am interested in something else. And many people like me are too. And I am incredibly happy that the authors made this film for us. It is not even about Tolkien – I repeat, I am rather indifferent to him. The point is how, through Tolkien and his legendarium, the authors talk about what is important to me. And they do it masterfully. And the most beautiful thing is that those who are young will definitely grow up and become adults.

And then maybe they will love this story too.

[hotvintagepoll]

Propaganda

Yvonne De Carlo (Frontier Gal, The Ten Commandments, Casbah)— Although most famous for playing Lily Munster in The Munsters, Yvonne De Carlo had a successful movie career throughout the 1940s and 1950s, appearing in such films as “The Ten Commandments”, “Sea Devils” and two Munster movies later in life.

Setsuko Hara (Tokyo Story, Late Spring, The Idiot)— "'The only time I saw Susan Sontag cry,' a writer once told me, his voice hushed, 'was at a screening of a Setsuko film.' What Setsuko had wasn’t glamour—she was just too sensible for that—it was glow, one that ebbed away and left you concerned, involved. You got the sense that this glow, like that of dawn, couldn’t be bought. But her smiles were human and held minute-long acts, ones with important intermissions. When she looked away, she absented herself; you felt that she’d dimmed a fire and clapped a lid on something about to spill. Over the last decade, whenever anyone brought up her lips—'Setsuko’s eternal smile,' critics said, that day we learned that she’d died—I thought instead of the thing she made us feel when she let it fall." - Moeko Fujii

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Yvonne de Carlo:

The woman who brought Burt Lancaster to his knees.

Setsuko Hara:

One of the best Japanese actresses of all time; a symbol of the golden era of Japanese cinema of the 1950s After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"

One of the greatest Japanese actresses of all time!! Best known for acting in many of Yasujiro Ozu's films of the 40s and 50s. Also she has a stunning smile and beautiful charm!

Linked gifset

Linked gifset 2

She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

"No other actor has ever mastered the art of the smile to the same extent as Setsuko Hara (1920–2015), a celebrated star and highly regarded idol who was one of the outstanding actors of 40s and 50s Japanese cinema. Her radiant smile floods whole scenes and at times cautiously undermines the expectations made of her in coy, ironic fashion. Yet her smile's impressive range also encompasses its darker shades: Hara's delicate, dignified, melancholy smile with which she responds to disappointments, papers over the emotions churning under the surface, and flanks life's sobering realizations. Her smiles don't just function as a condensed version of her ever-precise, expressive, yet understated acting ability, they also allow the very essence of the films they appear in to shine through for a brief moment, often studies of the everyday, post-war dramas which revolve around the break-up of family structures or the failure of marriages. Her performances tread a fine line between social expectation and personal desire in post-war Japan, as Hara attempts to lay claim to the autonomy of the female characters she plays – frequently with a smile." [link]

Leading lady of classic Japanese cinema with a million dollar smile

Maybe the most iconic Japanese actress ever? She rose to fame making films with Yasujiro Ozu, becoming one of the most well-known and beloved actresses in Japan, working from the 30s through the 60s in over 100 hundred. She is still considered one of the greatest Japanese actresses ever, and in my opinion, just one of the greatest actresses of all time. And she was HOT! Satoshi Kon's film Millennium Actress was largely based on her life and her career.

[quartzalynlove]

Dating Johnny Cage Would Include

Pairing: Johnny Cage (mk1) x reader

Summary: hcs about dating our favorite movie star

Warnings: none

A/N: I've got so many Johnny ideas running around this head

Alright let's cut to the chase

This man's love language is gift giving

Jewelry, clothing, shoes he's buying it all for you

You know in Iron Man 3 when Tony bought the giant Christmas bunny for Pepper? Yeah expect something like that from time to time

But he's also very sentimental and will buy you things he knows you love/will make you happy

That book you've been talking about reading all year? He'll surprise you with it on a random Tuesday just to see you smile

And don't be a collector or something

You like mugs? Funko pops? Magic the Gathering?? He's the sole sponsor of your collection

His net worth may be in the millions but nothing he owns is worth more than pure joy on your face

Speaking of your face he's constantly trying to get you on the screen

Whether you think you have talent or not Johnny just wants your perfect being captured on film

"C'mon, doll, I found auditions for a lead in a rom-com. You'd steal hearts on the big screen!"

Lord knows you've already stolen his

The man's a huge kid and nerd at heart so if you're also a movie buff he'll be on cloud nine

He hasn't had many people to talk to about the magic of entertainment since his mom when he was younger

The two of you would lose track of time talking about the good, the bad, and the cheesy of movie history

This also means he will talk and flirt with you almost exclusively in movie quotes

And if at any point you start thinking they're cheesy he'll switch it up with an expression bc he knows they always make you laugh

While he is silly, nerdy, and impulsive Johnny also values quality time with you

He wouldn't trade his job for anything in the world but sometimes it's a lot

Sometimes he just needs a movie night you

Nothing but the two of you cuddled on the couch, a bottle of wine, and the entire Star Wars saga

He could never thank you enough for supporting him and in turn he fully supports you in all of your passions

Imposter syndrome and insecurity are not allowed in the house

For every flaw you see in your work he will list 10 things he loves about it

"I know it's hard not to feel like this, but even when you can't believe in yourself, I'll always be your cheerleader."

Where's his favorite place to kiss you? Where isn't

It all depends on which part of you looks most kissable at any given moment

He'll kiss your lips, cheek, forehead. He'll even kiss your stomach totally unprompted.

Got freckles or beauty spots? He's abt to become a problem

In his eyes, you're walking cinema that he can touch, taste, and love. He wouldn't miss a second of you.

Bottom line: Johnny's happiness in life is bringing joy to the world and you're no exception

The smiles of millions of his fans at Cage Con is only equal to one of yours

[comicaurora]

What are your thoughts on guardians vol.3? (If you have watched it) I went into it, expecting it went to the garbage like the rest of the mcu, but I was pleasantly surprised by its creativity, trope subversion, and how it wrapped up the previously unresolved arks of its characters.

That's what I've heard!

The thing is, Guardians 3 could be the most transcendent work of cinema ever made, and I'd probably still feel little to no motivation to watch it at this point. It's not Guardians's fault - it's just suffering from the same problem that superhero comics have been struggling with for decades: no matter how good an individual arc or run is, absolutely nothing good lasts or matters in the long term, and the stories are shaped in such a way that "the long term" is the only thing anyone gets to build towards.

Whenever I complain about the MCU I get a handful of people loudly complaining about my complaining, with the general thesis that if I don't like it I shouldn't watch it or talk about it - if I'm not having fun, just stop engaging with it. And the thing is, I have. I am intellectually interested in why this massive franchise is fumbling the bag so hard, which is why I still check in on it sometimes, but I've long since stopped turning to the MCU for uncritical entertainment. And even the good movies or shows with a lot of interesting ideas - good character arcs, fun concepts, interesting planting for future payoff - don't draw me in anymore, because they're hooked into a massive moneymaking machine that will scrap and squander anything if they think it'll make them more in the quarter. It doesn't matter how good the writing is, because the writers are not allowed to tell a complete, finished story, and they have no control over what happens to their characters outside of their own script.

Captain America's arc was set up from literally minute one to answer one burning question at the core of his character: does a world without a war still need Captain America? After that incredibly basic tee-up at the end of First Avenger, half a dozen movies failed to come up with a reason to say "yes," and now Steve is retired for good after getting fumbled through four different storylines that couldn't even pretend that they needed him (the unused Chekhov's Phone from the end of Civil War still haunts me). The foundational arc of his entire character never happened because nobody bothered to keep track of it past a single movie.

Taika did something interesting with Thor in Ragnarok - take away Mjolnir, force him to recognize what it means to be the god of thunder, give him a very Odin-y missing eye - and the very next movie undid all of it. Just kidding, never mind, here's an eye and a new weapon and also his old weapon again, and in one more movie we're even gonna give him his hair back, probably as an apology for all the completely unironic fatphobia we're gonna slather him in for two and a half hours. I'm not even surprised Love And Thunder was such an overblown mess that barely took itself seriously - why would Taika bother trying to give Thor another arc when the powers that be will just roll it back in six months anyway?

I hear Rocket Raccoon has a fantastic arc in this movie. That's great, and demonstrates that he's being written by a writer that deeply cares about him. But he's part of the MCU, and the MCU doesn't let anything end, so if current patterns hold, Rocket is going to continue to serve as quippy plushie-bait for the next dozen movies and none of that depth is going to come through in the long term. Hell, since they're making Kang noises for the Next Big Threat and Kang's entire gimmick is rewriting timelines, literally none of this is guaranteed to matter. By next year, it might not have even happened anymore.

The MCU has successfully shaped itself into a paradigm where the bright spots of good writing are overridden and lost as soon as the writers room turns over, and that makes it really hard for me to muster up the enthusiasm to watch even a really good movie that's locked into the exact same grist mill as everything else. I'm glad people liked it, I hope it gets to stay good this time - I just have no desire to watch it.

[finalgirlsamwinchester]

today's thoughts before passing out: the demon blood plot reading as a metaphoric fear of miscegenation, a result of classic Western tropes told through a Horror framework.

demon blood is a boundary crossing substance, invasive and transformative. Sam violated in the crib functions on one level as a rape metaphor, but its done so through demonic blood coming in to dilute his human blood. the violation then, comes in as a literal theft of identity. his body becomes the literal battleground between two forces - the domestic world of his family vs. the invading, monstrous outsider. Azazel snatches and preys on civilised children from the crib as a means of recruiting them to his tribe army, literally corrupting them on a bodily level, claiming them from their blood families as his own. and the more demon blood Sam drinks, the less 'human' he becomes (the less of his family's blood in him). Dean's anger over Ruby also ties into Sam's sexual relationship with her, of which the blood drinking is a component. the blood drinking is especially transgressive because it echoes deep-rooted settler colonial anxieties, expressed through the language of pop culture - fears over losing one's blood, family, and identity to a savage Other.

(4.04)

(4.21)

what got me started on this line of thinking was a recent rewatch of John Ford's The Searchers (1956), a movie so ingrained in the modern American cultural mythos that nearly every first year cinema studies course makes it required viewing lmao. it's a subversive Western, concerned with exploring the porous boundary dividing white settler communities from Native American communities, the defining line between the 'civilised'/'uncivilised', the colonial subject and the savage. it was released during an era when America was grappling with undoing laws around racial segregation, and reflects those anxieties through classic American mythology.

so. Sam is a modern interpretation of Martin and Debbie from that movie, and Dean is a modern variant on its leading anti-hero, Ethan Edwards (rather John is our initial Ethan figure, but we spend most of the show with Dean, who takes on his mantle). just to emphasise the connection between the show and this movie - Star Wars heavily references it, and Kripke's always been explicit about this show's two leads as Luke Skywalker and Han Solo. well, i'd argue this show definitely owes more to The Searchers than Star Wars does!

Martin is Ethan's adoptive nephew of partial Cherokee descent, made an outsider to his family, by his uncle, at the film's outset due to his blood. he joins his uncle on his revenge mission after a Comanche tribe destroys their home and steals his adoptive sister - Debbie. this mission becomes his coming-of-age journey into rugged frontier manhood, as much as it is his path towards integration into white, 'civilised' society.

the protagonist of the film is Ethan, a soldier who gets consumed by his seven year long, bloody, vengeance-fuelled quest to recover his niece. when he finds Debbie, however, to his dismay he discovers she's no longer the 'pure' innocent he remembers. upon finding out that she's married to the tribe's chief - he literally disowns her as his blood kin, and at one point, even tries to kill her. Martin becomes the one to save her from his uncle's shot and the one to convince her to return home. he later convinces Ethan to recommit to rescuing her, and he ends up doing so.

(15.17 - Sam over s4 functions as a Debbie figure, but Jack also takes up her role. Dean disowns him as Ethan disowns his niece)

over the movie, we see Ethan descend into ever increasing violence and 'wildness', grown closer to his enemy after years spent on the frontier, hunting them down. Martin gets to go home, his civilising mission completed as he marries into a white family. Ethan though, stands at the threshold in the iconic concluding shot below. he's been transformed by frontier violence to the point he no longer belongs to the domestic, civilised world. he wanders back out into the desert, alone.

(1.14)

anyways. Supernatural owes so much of its dna to the classic Western, and to this movie in particular. what The Searchers was to collective white American anxieties over desegregation in the late 50s, this show was to collective white American anxieties over multiculturalism at the new millenium, in the wake of 9/11. Sam's demon blood is a critical defining line between him and his brother, as Martin's mixed race status is the defining line between him and his uncle. 'monstrosity' on this show metaphorically stands in for savagery; one brother gets thrown out onto the frontier, a journey towards 'taming' his own nature. and another brother drifts further and further away from civilised society the longer he spends fighting at the frontier, protecting civilisation from its monsters. 'blood don't end with family' comes to a screeching halt when it addresses the prospect of monstrosity. what is demon blood standing in for on this show? what does a monster represent, truly? who gets to step over the threshold into civilised society, and what is the price of that acceptance?

[flamevbirdv]

video essayists for these trying times!

I watch a lot of youtube so I thought I could round up some recs!

verilybitchie my favorite of the list. bi, trans lense on queer media. expert on calling out lazy representation. famously known for their video "good lgbt representation is boring" but my favorite is a bisexual history of dracula

The Morbid Zoo incredibly smart and sharp commentary on movies and social media. horror fan, clown fan, twilight apologist. my favorite video of hers is the pale man:physical fascism

Maggie Mae Fish powerhouse of the media analysis sphere. I learn so much every time I watch any of her videos. very clear spoken and funny. if you haven't checked her out yet this is your sign. some of her greates hits are "LGBT in fantasy" "superman won't save the cat" "fight club, an analysis" but loki, stalker & the war on terror blew my mind

Princess Weekes bi black icon. the place to go for videos on pop culture, race, feminism, etc. her video how true crime reveals the corruption of the legal system changed my life, no hyperbole. also check out her video on "purity culture & fandom"

Rowan Ellis queer media and history. recently tackles cultural issues like "the infantilization of millenial women" and "corporate queerbaiting" the problem with activist characters is a personal favorite of mine

Ladyknightthebrave a channel with less videos than most of the folks above but you need to watch her video on holocaust cinema

Quality Culture channel shared by two people who love movies (and music!) and research the shit out of their videos. some I really enjoyed are "death note: finding meaning in a meaningless world" "the iron giant: a study in heartfeel film making" and the conflicting ideals of hayao miyazaki

The Princess and the Scrivener it's been a while since they uploaded a video but if you are a fan of disney, these are your gals. however I have to reccomend their videos on dissability and ableism "the wonder of misscasting" and the shape of ableism a joke on the shape of water, yes this video is that old

BONUS!

Elliot Sang he talks about the real world with probably the most nuanced view I've seen from a youtuber ever. another list of greatest hits: "ADHD: a nightmare under capitalism" " is tik tok ruining music?" and "the problem with video essays" LMAO

[gojuo]

what are your thoughts on the theory that Aegon killed himself with poison?

100% am a proponent of it and actually have been trying to push the agenda as canon since S1 :ppp bc F&B-canon is obviously that Corlys and Larys poisoned him, there's really no way to spin it as something else in the book HOWEVER the tragedy of all the Targtowers and Aegon's tragedy as the big bro of the family and as Alicent's first and last son is sooooo much more emotional and poetic to me if he decided to commit suicide rather than getting murdered. There is something so beautiful and heartbreaking to me about how all of the Targtowers died alone and separated from each other (this is why them loving each other actually like in the book is so important to me and why Condal making the changes he's made pisses me off beyond belief).

The two youngest brothers die fighting to defend their big brother and the two oldest who are married to each other commit suicide... There is just something so delicious about that like... Aemond seeks to redeem himself by defeating Daemon for his big brother because his actions have caused the chain of events that ended up in Jaehaerys' death and he is overwhelmed by guilt for it, thinking he could set things right by killing the killer, completely unable to face his family anymore, and eventually dies trying, and Daeron carves a path of war and vengeance through the Reach in order to return to King's Landing and save his family, consumed by guilt over not being able to save Maelor, his big brother's baby, who was on his way to him yet he dies in the process, not having reunited with his family in years.... And then you have the two oldest siblings who are married to each other against their will and are the only two people in the world to understand what the other is going through... What ache is, what grief is, what it did to them... They are the only ones to understand the other. Then King's Landing falls and Helaena is all alone in the world, separated from her entire family in a lonely castle. Her sons are dead, her girl is missing, her mother is in the dungeons, her brothers are all gone and she is alone in King's Landing. The pain and the loss and the loneliness is too much to bear, it hurts too much to live, so she decides to kill herself in the end. And then Aegon, who has been alone and separated from the entire world and his entire family on a lonely island for six months returns to King's Landing, to both of his sons slaughtered, his girl faraway, his mother a shadow, his dragon gone, his sister dead, and his brothers dead. They all died for him and the crown their mother put upon his head. He's returned but only to an empty house. He is all alone in King's Landing. He is more ghost than person at this point. The pain and the loss and the loneliness is too much to bear, it hurts too much to live, so he decides to kill himself in the end.

And that is Alicent's tragedy. That's her humbling, her karmic justice, her comeuppance. The two children she forced the crown upon in order to save them from their inevitable fate make the decision to end their lives. She's lost almost everyone by this point already, Gwayne, Otto, Criston, Jaehaerys, Maelor, Helaena, Aemond and Daeron, they are all gone but Aegon, her first baby, remains. Her last hope and her last love. And even that isn't enough because the loss is too great for him to swallow. So in the end, he leaves her too. By choice. That is her punishment.

To me, this is parallels, this is connections, this is themes and tragedy and satisfying character conclusions. THIS IS CINEMA.

[angelic-ambedo]

The Weirdest Fucking Movies I've Ever seen Pt. 1

Okay so I sort of champion myself as a lover of weird movies. And it's funny because regardless of how many I've seen, every time I watch a weird movie I genuinely feel as if it is the weirdest movie I've ever seen in my life.

So, I decided to make a list which compiles all of said weird movies and then a description of why I find each so uniquely weird. If you find any of these descriptions or titles intriguing, I recommend you seek these movies out, because a weird movie = a good life ya know so yeah

If you have more weird movies please please recommend them im hungry for new crazy cinema bebesssss

Eraserhead (1977) - genuinely makes no sense.

Coherence (2013) - trippy scientifically interesting thriller

Some Velvet Morning (2013) - abusive cat n mouse relationship

Eternal Sunshine of the Spotless Mind (2004) - emotional violence

Greener Grass (2019) - let's shame suburbia!

Trash Humpers (2009) - people fucking the trash...?

Julien Donkey-Boy (1999) - mental illness be so sad and trippy

Gummo (1997) - literal photo album of a dysfunctional town

Slaughtered Vomit Dolls (2006) - bulimia PSA in disguise

Black Bear (2020) - art seeps into the "real" world

Begotten (1990) - god kills himself

Trouble Every Day (2001) - eating people presented as...a turn on?

Baise-Moi (2000) - punk feminist murderous women are sick and society sux

Palindromes (2004) - one character is played by a ton of different actors of different ages, races, and sexes

964 Pinocchio (1991) - so much vomit, even more cyberpunk lobotomy sex machine madness

Meet the Feebles (1989) - the muppets give each other STDs and commit mass murder

In the Realm of the Senses (1976) - a torrid, pornographic affair used to escape the horrors of a war-torn world

Enter the Void (2009) - going to the past, present, and future, POV shots that include blinking, going inside the body, taboo themes with a psychedelic style

Love (2015) - horny pseudo-porno about a misogynistic asshole who somehow pulls hot, sexually adventurous women

Climax (2018) - LSD fueled nightmare

Pink Flamingos (1972) - a competition to be the "filthiest person alive" (spoiler alert: the cool drag queen wins)

Vivarium (2019) - Suburbia is still creepy, guys

Be My Cat: A Film for Anne (2015) - can we please stop having erotomania like celebrities aren't into u babe :(

No No Nooky TV (1987) - Computers being cool and saying "boobs" and "clit"

The Piano Teacher (2001) - unsafe nonconsensual bdsm and sexual repression is...no. please no.

The Night Porter (1974) - stockholm syndrome and wild bdsm stuff with postwar themes

Belle de Jour (1967) - more bdsm themes

Titane (2021) - woman fucks a car and gets pregnant

Daisies (1966) - two girls cut up pickles and destroy the patriarchy

Creep 1 and 2 (2014, 2017) - murder has never been this funny

Garbanzo Gas (2007) - a human cow gets an all-expenses paid trip to a motel before it hits the slaughterhouse

Melancholie der Engel (2009) - ew.

In Our Garden (2002) - old men dicks + weirdest dialogue I've ever heard in my life

The Rehearsal (TV series) (2022) - this is the ultimate weirdest thing ever and I don't know how else to categorize it.

Trigger Warnings (all of these movies are weird/fucked up but some of them contain actual fucked up stuff that like. happened in real life. so below are the triggers for that kind of stuff. All of these films are genuine films, not the gore stuff the internet produces, but some of them because of the country/time period/transgressiveness include content that is inappropriate and/or ethically unacceptable, so I've included those movies below)

Baise-Moi - unsimulated sex scenes which includes SA scenes that actors consented to but characters did not. this proves a feminist point but is still incredibly upsetting and stayed with me for a while as there are close ups and its awful.

In the Realm of the Senses - Please look into this one more before you watch it, I'm not going to describe things in detail because it makes me so uncomfortable but there are some scenes that involve young actors that should not ethically have been in the situations they were put in. The movie is exceptionally well made and from what I know globally respected so I don't know why they had to ruin it for me but whatever.

Pink Flamingos - One infamous scene involves an actual chicken death. It was the early 70s (long time ago and no PETA) and they apparently ate the chicken afterward, so I felt less immoral about this one but still gross.

Melancholie der Engel - okay please genuinely never watch this movie unless you're super into traumatizing yourself and are very desensitized I guess. There's a ton of actual animal abuse in very very graphic/unnecessarily disturbing shock type situations. There's other bad unsimulated stuff but this is the worst of it from what I know.

Love and Meet the Feebles contain scenes that are transphobic and/or racist, which is gross. Slaughtered Vomit Dolls was made by a very bad person. A bunch of the movies also have unsimulated sex stuff, I don't know if that makes anyone uncomfortable but if it does I'm just putting it out there.

[sakyhana13]

I have a Hazbin Hotel fanfiction where Vaggie is a Carmine and here I have a compilation of memes of the Carmine girls and their dynamics in this dubious fanfiction that hasn't come out yet.

The relationship between the three of them is basically that typical sibling thing: "Mommy found you in the trash, but if someone said that to you, I'll want names."

They will pick on each other, but in the end, they will be sleeping cuddled up in a pillow fort with Clara moving restlessly around the bed, Odette with all the sheets to herself and Vaggie curled up in a ball like a cat.

Clara and Odette are somewhat protective of Vaggie, because she is their youngest sister and even though she vehemently denies being treated like the baby of the house, claiming that she is an adult with the body count and PTSD of a retired war soldier, no one cares. , she is the baby of the house and nothing will change that. Let Charlie say it, after a short conversation with the older Carmine sisters, she came out pale and shaking (she thinks she would faint when her future mother-in-law talked to her).

Odette is the oldest sister, Clara is the middle child and Vaggie as previously mentioned is stuck as the youngest child.

Clara is chaotic, extroverted and clearly has ADHD. She is the artist daughter, theater and cinema are her passions, even in hell she still writes some scripts and records short shorts during her days off, when she is not doing odd jobs as a DJ in the clubs in the lust ring (Carmilla obviously doesn't know from that). She is usually the one who gives the bad ideas, the one who drags her other two sisters into adventures or misadventures. She is a talker, a person who knows how to deal with the public, a stellar negotiator and salesperson. And well, she will do everything, everything, to make her sisters happy.

Odette is obviously the child whose mind never stops thinking of new ideas and theories. She is the inventor of the weapons produced by the Carmines industries, but she has her personal projects that don't involve military weapons, like gadgets to make her life easier, like her little robotic assistant ASSIs and her hellish computer because she's not using the fucking technology manipulated by the Vees. She's basically an Entrapta, autistic technological genius inventor. And it all started because she saw a plane take off and she wanted to do something similar. Carmilla had to prevent her daughter from meeting Jesus a few times (all 3 of them in fact, being little devils who got into trouble whether they wanted to or not). She just seems to be controlled and less chaotic than Clara, but anyone is less chaotic than the middle Carmine, but don't be fooled, just like the entrapta she's a bit of a mad scientist, but she and Vaggie usually reverse each other in controlling chaos. , normally she will agree with Clara's ideas at first and then bitterly regret having gone. Despite this, she feels responsible for her little sisters, so that they stay safe and well, she would do heinous things to care for and support the two idiots that her mother did the favor of tying her to forever.

And then we have Vaggie, you know how she is. But before the fall, even before her time as an exorcist, she was a quiet and shy but extremely curious child. She wasn't an artist like Clara or an inventor like Odette, in fact she was an explorer. Your eyes seeking to learn about the world around you, especially the little animals among the leaves. Loving every second he could spend outdoors watching the little ants do their work or exploring the forest or beach near his childhood home. Vaggie strangely has a chaotic streak, but is it completely by accident or because she went along with her sisters, usually she will be the voice of reason, but when is she not? Well, maybe hell's heaven will turn yellow and hot pink. Vaggie is autistic and I don't have much else to say other than: I love this headcanon and you can pry it from my cold, dead hands. Plus Vaggie would definitely lose her other eye to protect her sisters if she had to, but she'll never admit it, because she'll never hear the end of it if those two scoundrels hear it.

Yes, Carmilla has chaotic and neurodivergent daughters who would knock God off the throne if it were for their sisters, their mother is very proud.

(Sorry for the bad English, it's not my language, and the crazy text, but I've had this in my head for a while and I wanted to get it out, because I don't know when I'm going to write a fic with it.)

[meraki-yao]

Watching Agatha All Along again after giving up on Marvel for three years made me think about why I gave it up in the first place.

I was so deep in the MCU. I cried so much during Infinity War that I struggled to walk out of the cinema. I watched Endgame on the first day that it was released. My diary was a CACW notebook. Part of the reason I took up STEM subjects was because of Marvel.

And then after watching MoM in theatres, I stopped.

I'm trying to phrase and figure out what made me give up something I was so invested in, something I loved so much. I think I know why.

The MCU period I was active in gave me characters that I ended up loving, and the later period took them away.

My two favourite characters were ruined. Their character arcs and core characters undone. I'm worried about my favourite too.

I hate it when the sequel undermines the previous works.

When I think of Steve Rogers, I don't think of the guy who chose to either fuck up the entire timeline of the MCU or sat quietly and watch the world in turmoil, his allies die tragically, and his best friend left to a fate worst than dead to get with a girl he wasn't even dating, a woman who had a life of her own and moved on.

I think of Steve from CATWS, the guy from Brooklyn who still does the right thing in a time when morals are blurred. The Steve who is kind, compassionate and brave. The Steve who inspired the base-level employees of SHEILD to follow his example and not bow down in the face of tyranny. The Steve who just had one mission, and that was standing up to bullies.

When I think of Wanda, I don't think of the insane, manic witch/evil goddess who killed thousands mercilessly even though there was a harmless solution, who after all she lost, somehow only wanted her children who she had for three days instead of also her love and her twin.

I think of Wanda, the girl who lost it all, who's family was all killed, who was denied a burial for Vision, who was left alone and abandoned in the world, with so much love in her heart that no longer had a place, a person to go to. The girl who feels so much so deeply that it bended reality. The girl who had to learn, who had to give up her dream, but did so, because at the end of the day, she is a kind person, who doesn't want to hurt people. She was wrong, she takes time to understand and accept the harm she's caused (as we all do), and then makes it right. She tries to be good. Despite everything, she tries.

The later stages of MCU took these two characters that mean so much to me personally, and ruined them.

And I'm fucking mad at them, because it disrespected all the work that made me love them in the first place, and it was preventable. (The original script for MoM where Wanda helps Strange but repeatedly gets tempted by the Darkhold is a much more convincing narrative.)

And I'd say the same applies to others: Natasha, Thor, Bruce, even Strange (although I feel like they never really figured out what they wanted to do with Strange's character)

I miss my characters, I miss my MCU.

[richwall101]

The Art Deco DREAMLAND cinema - Margate - UK

As for the history of the cinema, the complex sits on the site of a former theatre that dates back to 1923 and was part of the sprawling Dreamland Amusement Park run by English entrepreneur, John Henry Iles. The cinema, which was designed in the early 1930s, was closed for the duration of World War II and in 1940, along with the rest of the amusement park, was briefly used to accommodate troops evacuated from Dunkirk (26 May to 4 June). The cinema reopened in 1946 and continued to show only movies until the early 1970s. In 1973 Dreamland was subdivided into a live theatre on the ground floor and an independent cinema with two smaller screens in what was originally the circle. The live theatre didn’t take off, however, and in early 1975 was turned into a bingo hall. The bingo club closed in late 2007 and the independent cinema followed suit shortly after.

Restoration work on the cinema began in 2011 when the amusement park was purchased by new owners. But, financial difficulties and a legal battle over land ownership thwarted the project. Eventually, work on the building’s exterior was completed in 2016 after the site was compulsorily purchased by Thanet District Council. Restoration of the interior is ongoing but progress appears to be slow and future plans for this iconic Margate landmark are unclear.