#the uncut revolutionary

[helloanthy]

26.04.2024 ❄️ today's anthy!

Someday, Together ✨ (Stay Close To Me)

[hello-nichya-here]

So I've asked you this in private, but I thought the rest of your followers should see this as your thoughts are quite entertaining.

What is your opinion on the idea of stuff like this being the only acceptable method of pornography?

*cracks knuckles* Let's get the easiest part out of the way first.

Saying Something Is "Female-Friendly" Is Just Marketing

I'm sorry (not really) to be the one to state the obvious, but at best labeling any kind of pornography as "female friendly" means "most of the people that enjoy this are women" - which is very different from saying "ALL women are into this" or "No guys are ever into this." It's the good old "this cartoon is for boys, that one is for girls."

It's not a radical statement, it's not revolutionary, and it is at best a morally neutral mention of a random statistic that is being used to find the best demography to advertise to and at worst just pointlessly trying to force people into boxes with that they are/are not allowed to enjoy based on their gender.

Don't believe me? Well, too bad because this image you're seeing is literally part of a facebook ad for a porn site. The name of the site and of the artist they were working with can be seen at the top in the uncut version. Like I said, it doesn't matter how "radical" these claims of "this product is made for/by X minority group" pretend to be, at the end of the day it's just marketing.

"Oh, but people obviously support the message it's sending anyway!" True... but that message is at best filled with poor word choices, and full on terrible at worst.

Consent - Important In Real Life, Meaningless In Fantasy

In the context of this being an ad for a porno site, I think it's safe to say "Consent-based" is just a way of assuring viewers that every actress was fully consenting to every sexual act and was not pressured into anything in any way, which is the bare minimum.

HOWEVER, I've seen plenty of people misunderstand or flat out lie about the "consent-based porn" term means. Like I explained, it is meant to be about the ACTORS consenting - but their "characters" don't need to consent to anything because they are not real. A hardcore CNC fantasy with the actress pretending she doesn't want the sex/is not enjoying it while her co-star pretends to force themselves on her is STILL consent-based if the actress playing the victim role can stop the scene for literally any reason and even walk out completely if that's what she wants.

Unfortunatelly, because kink-shaming is still very much a thing, people act like that is crossing a line and totally counts as legitimate assault - even in videos that the actors before AND after the scene mention how excited they are, how great it was, openly discuss their kinks, etc.

Nobody needs to watch something so extreme if they don't want to, but I have a serious problem with people saying stuff like that shouldn't ever happen. If the people involved in the role-play are doing it WILLINGLY and can back down at any moment, then it isn't in anyway immoral.

Sexual Attraction Is NOT The Same As Respect/Acceptance

Once again, I'm sorry (not really) to be the one who has to tell you guys this, but "representation" in porn is meaningless because:

1 - It doesn't matter how many porn videos there are of any minority group - each individual person picking something to watch will only click on the ones that show people with the body-types and genders they are attracted to, doing stuff they personally find appealing.

2 - "This kind of porn is popular" does not in anyway translate to "this is what society deems morally acceptable". A ton of homophobes LOVE lesbian porn. My country, Brazil, has always had porn with trans people and crossdressers as one of THE most popular trends - yet we are also the country that commits hate crimes against them the most, even when compared to places where being trans or crossdressing is literally a crime that earns you an authomatic death sentence. Incest porn has been obscenely popular everywhere for decades yet most people STILL find the thought of real-life incest absoutely repulsive.

3 - "I am not usually/ever attracted to people of group X" doesn't authomatically mean "I HATE people of group X." Just cause I like red-heads and brunettes, doesn't mean I'll be commiting hate crimes against blondes. If that was how things worked, sex-repulsed asexuals would hate literally all of humanity.

Wanting porn to be inclusive is utterly pointless because sexual attraction is 100% morally neutral. Which brings us to...

What Even Counts As "Objectification"?

Once again, if by "Don't objectify people" we are talking about how "Just because you hired this person to star in a porno, it doesn't mean you can just ignore their consent, comfort and safety for the sake of your fetish" then yeah, that's the bare minimum.

However, if you're saying "don't objectify people" as a way to say "Don't make the video too graphic/obscene/kinky" then we absolutely have a problem here because, my guy, it's porn. It is all about letting us see hot people looking slutty and fucking in great, explict detail.

"Oh, but these sexual acts are humiliating and gross!" To you, maybe. But not to the actors that are very willing to do it. I've had some of my fetishes be called both deeply disturbing and gross AND the most vanilla shit ever. That kind of stuff is 100% subjective, and the only people who can say "I felt disrespected/unsafe/abused" are the actors themselves. Once again, if THEY consented, there's nothing wrong with it regardless of it appealing to you or not.

"Oh, but we'd be wasting an opportunity to educate people/give X group more representation"

If I ever click on a porno and there's a two minute intro with the actors, both belonging to some minority group, talking about how one of them is also historian and the other is a astronomer, I will STILL only care about seeing them fuck even though I love both history and astronomy - not because I don't think they can't possibly know what they're talking about since they are sex workers or because of some kind of bigotry, but because, surprise surprise, I only check out porn sites for the porn. That's what EVERYONE does.

Hell, bad porn can be used to educate people. 50 Shades is awful and a ton of ignorant people think it is 100% accurate to how BDSM actually works. However, this has led to entire groups of people who are actually kinky to discuss REAL BDSM with vanilla people and educate them on how it can be a great thing. And, of course, there's people that enjoy those shitty novels/movies but KNOW they are not accurate representiation of BDSM because they are aware that PORN IS JUST FANTASY, NOT A GUIDE TO HOW SEX SHOULD WORK!

"But it's so shallow to focus only on these people's looks and know literally nothing else about them!"

Yes, and? Being "shallow" isn't always bad, and feeling attracted to someone solely for their looks is not a crime.

Don't get me wrong, I'm a goddamn fanfic writer and I was once the classic "teenager that totally thinks she'd have a chance with that famous rockstar that is old enough to be her dad", I KNOW that the thought of a real connection (emotional, intelectual, etc) CAN be hot - but there's nothing wrong with "These two people whose names I don't even know look hot, I wanna see them fuck, then I'll go take a nap and never think of them again." These porn stars are not crying themselves to sleep because people whose faces they've never even seen don't know anything about them other than how they look without clothes on.

"Female" Pleasure - Yet ANOTHER Hollow Marketing Term!

Seriously, that last one REALLY irritated me because it's one of those things that tries to sound progressive, but are meaningless at best and downright sexist at worst, because it implies:

1 - There must be a strict separation between "female" pleasure and "male" pleasure. A sexual act cannot possibly be enjoyable for both the guy and the girl, and gender prevents men and women from EVER being into the same thing (as a woman that finds more porn that fits my taste in "male-centered" sites than in most "porn for women" sites, this one gets on my nerves).

2 - Pleasuring one's partner cannot possibly be enjoyable - so, say, a girl cannot possibly enjoying giving her boyfriend head, and vice versa.

3 - Sex is a competition and women NEED to win because "female" pleasure is apparently more moral than "male" pleasure (hence the "ALL porn can and should be 'female' friendly")

4 - ALL women are turned on/turned off by the exact same sexual acts, and the level of pleasure they get is always exactly the same. Preferences are not individual and never change over time. (Seriously, a woman directs a sex scene between two actresses, the editor is a woman, and all the viewers are women - which one will speak for her entire gender and decide what "female" pleasure looks like? You see how silly this sounds?)

Conclusion

Sex and sexuality can never be over-simplified like that, and fantasies are just harmless fun.

[bikinikillarchives]

KATHLEEN HANNA ANNOUNCES MEMOIR, REBEL GIRL: MY LIFE AS A FEMINIST PUNK

7/13/23: Kathleen Hanna has announced that she’s releasing a memoir in May of next year: Rebel Girl: My Life as a Feminist Punk is out Tuesday, May 14, 2024, via Ecco (a HarperCollins imprint). The book will follow Hanna’s story from childhood to her college years in Olympia, Washington.

Kathleen Hanna's rallying cry to feminists echoed far and wide through the punk scene of the 90s and beyond. Her band, Bikini Kill, embodies this iconic time, and today her personal yet feminist lyrics on anthems like "Rebel Girl" and "Double Dare Ya" are more powerful than ever. But where did this transformative voice come from? In Rebel Girl, Hanna's raw and insightful new memoir, she takes us from her tumultuous childhood home to her formative college years in Olympia, Washington, and on to her first years on tour, fighting hard for gigs and for her band. As Hanna makes clear, being in a "girl band," especially a punk girl band, in those years was not a simple or safe prospect. Male violence and antagonism threatened at every turn, and surviving as a singer who was a lightening rod for controversy took limitless amounts of determination. But the relationships she developed during those years buoyed her--including with her bandmates, Tobi Vail, Kathi Wilcox, and Johanna Fateman; her friendships with Kurt Cobain and Ian MacKaye; and her introduction to Joan Jett-- were all a testament to how the punk world could nurture and care for its own. Hanna opens up about falling in love with Ad-Rock of the Beastie Boys and her debilitating battle with Lyme disease, and she brings us behind the scenes of her musical growth in her bands, Le Tigre and The Julie Ruin. She also writes candidly about the Riot Grrrl movement, documenting with love its grassroots origins but critiquing its later exclusivity. In an uncut voice all her own, Hanna reveals the hardest times along with the most joyful--and how it continues to fuel her revolutionary art and music.

you can pre-order Rebel Girl now though bookshop.org!

[steampunkforever]

Red Dawn has been long cited as an 80s must-see classic, but frankly I don't get it. This, of course, is not a meaningful approach to film criticism so buckle up for multiple paragraphs on the subject instead.

The thematic kernel at the center of Red Dawn's script is actually interesting, belying the meatheaded jingoism of the film itself: What if the Soviets staged an imperialist invasion of the United States? Which isn't to say that nobody had thought of this one before, this anxiety slotted pretty close under "Thermonuclear war" back in the 50s, but that Red Dawn's approach to portrayals of North American freedom fighters as close to that of fighters in Socialist Revolutions across the third world was in fact interesting.

Too bad the rest of the movie blows it.

Red Dawn is in its final form raw, uncut Conservative wish fulfillment. What was, looking at the script's bones with a coroner's eye, an antiwar film with an artistic bent is transformed into the perfect fantasy: men you're allowed to shoot are literally parachuting into your back yard. You will live in the woods (this is fun) and loot weapons off the Spetsnaz commandos you kill because the might of the Soviet empire is no match for the American Dream *red tailed hawk scream they want you to pretend is a bald eagle* Cue the national anthem and roll credits.

The fact that Ukrainians spent the past 3 years referencing the film through spray painted "WOLVERINES!" on cratered Russian armor is telling. This is a film that makes you feel good about your chances of defeating Combloc invaders. Even today you'll see memes about UN/Chinese paratroopers (it's always paratroopers!) facing the might of the American Redneck and you can draw the line right back to Swayze and Sheen blowing up the commies in Calumet.

Frankly I'd have been a bigger fan of the film if it had done a line of coke off the script for Rambo II and put out a meatheaded action romp, but the film tries to keep the somberness of the original script. It's a gonzo premise that could pull off the raw conservative wish fulfillment were the production not tripping it up. The execution propaganda scene where the prisoners sing the national anthem moments before being gunned down could be absolute camp! Yet the movie makes us take it too seriously while abandoning the antiwar themes the script initially required, much to the detriment of the entire production.

It's a shame really, because the character of a Cuban revolutionary turned invader is an interesting exploration of how liberators become oppressors in their own right (a mirror to the US itself, a country originally founded on the rejection of tyranny) and the film just doesn't allow itself to get deep enough for that, while simultaneously wearing the corpse of the serious art movie the original script was meant to be.

Red Dawn is a film caught in the limbo between gonzo action and serious artfilm, between thematic exploration and outright propaganda film. I just wish it would pick one and stay with it, but unfortunately that's one wish this film will not fulfill.

[grymmrp]

𝐆𝐑𝐄𝐄𝐓𝐈𝐍𝐆𝐒, 𝐑𝐄𝐀𝐏𝐄𝐑...

Privet,  𝙸𝚋𝚒𝚜  and  congratulations  LAINE,  𝚃𝚑𝚎  𝙼𝚊𝚐𝚒𝚜𝚝𝚛𝚊𝚝𝚎  is  pleased  to appoint you your  wings.  May  fortune  favor  you  in  the  hunt  for  𝙿𝚜𝚢𝚌𝚑𝚎.

No good deed goes unpunished, or so the saying goes. Kindness inextricably tied to martyrdom; demonstrative of the efforts made by those in power to dissuade any potential revolutionary from taking the first step towards progress. And so, if one ever dreams of making any meaningful, long-term change, sometimes one has to rub shoulders with those writing the script. A necessary evil on the path to a better world. Or at least, that’s what Hannah might have told themselves when they were alive. Disguising their own ambition with humanitarianism. Now, Hannah has come to realize the folly in their actions, the tantalizing allure of prestige no longer a lighthouse in the mist. Not when everything that they ever worked for in the Before dissipated into the haze of the After. But what they've learned Before, they will apply After. No longer just the raw, uncut gem, but the measured and arranged facets, sharp edges catching on sharp edges; enduring despite its delicateness. A brilliant-cut diamond.

𝑁𝑂𝑊 𝑇𝐴𝐾𝐸 𝐹𝐿𝐼𝐺𝐻𝑇.

Please  refer  to  our checklist for  onboarding,  and  have  your  account  ready  in  24  hours!

[justsomeno1s]

Pikmin-ifiable enemy adjectives stolen from Bots

Will continue updating via reblogs/edits going forward forward. Feel free to use if inspired!

Burgeoning

Difficult

Uncut (? May it could be a worm enemy that splits in two or something)

Palletable (Had a thought for this one while rewatching chuggaconroy's Pikmin 3 lets play: Like, A Pineapple that gained sentience or smth. When defeated, its body is a collectible b/c its a sentient fruit)

Overhanging

Frat (Not an adjective, but I feel like it could be funny to have a "Rat king" kind of monster be called a 'Conjoined Frattlewhump' or something, lol)

Slick

Adament

Conservative

Offbeat

Leaking

Bankrupt (Something like a Breadbug that can't collect things, maybe? So it just keeps dragging things around until it's taken care of)

Blasted/Blasting (Same as uncut- Could be an enemy with two forms. Like, imagine an enemy that violently explodes as an attack, which then leaves it vulnerable!)

Revolutionary

Fragmented

Incremental

Second

Gouging (Mm, the immediate is p violent... Maybe its talking about fruit or smth?)

Robust

Coastal

[rottingerotica]

fuckimg pinned hi. im two alters in a trenchcoat call us Rende or S3R idfc. pronoun apathetic but im a girlcorpse if that helps ur decision

schizo, npd, paraphile, cripple, aroaceaplafam, radqueers fuck off

i dont have a dni or byf this is a free zone

TW's for my blog: eyestrain+glitchy aesthetics, g-re, sn-ff, violence, trauma+abuse, sui+sh, unreality, uncut orgasmic tragedies, the loser otaku girl that sits at the back of your classroom and stinks to high hell, mental illness rants (see above).

tags

s3r.exe - textposts

vent, tw vent - vent textposts

s3r.png - any image thats made by me in some way

,,--,-,p,-, :3

anime i've seen / watchlist. ✅= watched; ❌ = haven't seen, 🔄 = need to rewatch, 👁️ = in progress. this doesnt include everything ive seen, if its on here but says watched then its some fucking godnasty cringe shit

i love media thats fucking awful. rec me your worst moeshit cringecore lana del ray anime that only people who dont shower actually like

Lucky Star👁️

Ouran Highschool Host Club🔄

Watamote🔄

Vampire Knight🔄

Shimoneta🔄

No Game, No Life!🔄

The Devil is a Part-Timer!🔄

Revolutionary Girl Utena❌

Love, Chunibyo, & Other Delusions!❌

Angel Beats!❌

Another❌

Re:Zero❌

Akame ga Kill❌

Chobits!❌

Blend S❌

Bocchi the Rock!❌

Charlotte❌

Highschool DxD❌

Interspecies Reviwers❌

My Mental Choices Are Completely Interfering with my School Romantic Comedy❌

[itnseo91]

Designer Polki Jewellery | Jadaav Jewels

Designer Polki jewellery is the height of luxury, merging traditional craftsmanship with revolutionary concepts. These products, which frequently have uncut diamonds set in gold, are admired for their delicate ornamentation and outstanding craftsmanship. Designer Polki jewellery is excellent for weddings and serious parties, with a timeless, regal style that summarizes the essence of culture and elegance.

[crazy-pages]

When your only exposure to Luddism is Marx, you end up saying dumb shit like this.

Luddism was a labor movement which very much understood that the problem isn't technology, it's how you use it. Marx is just flatly wrong here because it serves his narrative to parrot the British propaganda about the Luddites, and it's part of a recurring failure of his to understand that self organizing workers can have coherent and meaningful understanding of their oppression and work against it with strikes and protests. Rather than, you know, the only meaningful resistance being through coffee shop intellectuals organizing workers on their behalf through high concept political systems, working towards a sudden instant of mass resistance.

The Luddites fully fucking understood that the problem wasn't the mechanical looms taking their jobs, that it was factory owners making the conscious decision to pay their workers less now that they had the leverage of a mechanical system which reduced the skill required to labor. They also had a moral opposition to how the factory owners were intentionally designing their factories to be operable by children. And they didn't destroy the machinery because they couldn't distinguish between the machinery around its employment by capital, because again they weren't stupid.

Marx has a habit of treating workers as simultaneously the stupidest people on earth and also a gold mine of unliberated potential intellect, but whether he thinks they're stupid or brilliant uncut gems in the moment tends to depend on whether or not he agrees with their politics. In this case he didn't. See the Luddites destroyed the machinery because it was expensive and accessible. This meant they could destroy it at extreme cost the factory owners. Hitting the only thing the factory owners cared about, their profits. Their goal was to use that damage to force a negotiation with the owners for pensions for workers who would be losing their jobs because of the new technology, for the new factories to not employ any children, for reasonable hours for the workers who would stay on, for appropriate profit sharing for those workers, etc. They lost because Britain responded by with all of the force of the state and mass hung people by the hundreds who were even tangentially associated with the movement or in the wrong place at the wrong time. But their goal was to maintain basic standard of living and morality and they were willing to destroy the capital of the owning class to do so.

The problem is that Marx believed that any labor movements which improved the quality of life of the working class were counterproductive. See he believed the only meaningful reform could be through mass political upheaval and be complete abolition of capitalism, and that anything which improved worker quality of life would reduce the people's drive to rebel in such a convulsive way. Now if you know little anything about labor organizing, you'll know this is fucking stupid! Quality of life wins build trust among workers. They build solidarity. They make people realize that they can win. They build the on the ground organizing networks which actually leads to larger wins and enable those convulsive uprisings (if that's what you're aiming for), which contrary to Marx's theories actually very rarely come from a general population sentiment of being so goddamn miserable that death is preferable.

But Marx? His problem with the Luddites was that they didn't either try overthrow capitalism entirely, or if that wasn't doable (and the British response suggests it wasn't) willingly let themselves lose their jobs and send their children to the factories for the greater good of making themselves more miserable to increase revolutionary pressure in Britain. That's what he was chastising them for. That's what he thought they should do rather than destroying the extremely expensive machinery to inflict economic losses on an owning class which was inflicting suffering on them, to achieve bargaining parity.

This was actually the major failure of the Marxists in Russia when it came to getting actual workers on their side, which they failed remarkably at over and over and over. The actively worked against strikes for better working hours and pay, thinking it would reduce the rebellious boil to a simmer, not realizing that all the other socialists who were happy to organize with the workers in that way were building trust and faith that through organization they could create change. It's part of why the Bolsheviks (eventually rebranded as Communists) lost the democratic elections to the various Socialist parties, losing the vote not only among the peasant workers but even among the urban workers almost everywhere but the capital. It's why they had to throw a coup against Russia's democratically elected socialists who championed land reform back to the peasants to keep power.

Basically anytime Marx or Marxists complain about a labor movement, odds are what they're actually unhappy with is that the labor movement understands you need wins within the context of the system to build the trust and faith for a convulsive push to break it. Marx would much prefer that workers either get on with it and destroy capitalism right now, or suffer like good little martyrs in the service of that later revolution.

anti-ai people need to understand that the opposition communists have to luddism and reactionary sentiment isn't like, a moral one. the main problem with luddism is that it doesn't actually work. like when we say 'we mustn't try to fight against technology itself, we need to fight against the social system that makes it so that advancement in technology and labour-saving devices lead to layoffs' the reason we're saying it is because, if you try fighting the technology, you're going to lose, and you're still going to lose your job too. when you say 'yeah i understand your criticism but I'm still going to fight against AI' you very clearly did not understand the criticism, because the point is that it isn't even in your own self-interest, because it will not work. the fact that, even if it did work, it would only mean maintaining a privileged strata of 'skilled labour' above other workers is secondary -- because, again, flatly resisting technological advancement has never worked in history.

[spiritwhisperer-11]

The Weller Bourbon Legacy: A Toast to Wheated Whiskey Excellence

Introduction:

Nestled in the lore of American whiskey, Weller Bourbon stands as a pillar of quality and tradition in the heart of bourbon enthusiasts. With a history stretching back over a century, Weller's distinctive profile has captivated the palates of drinkers looking for something exceptionally smooth. In this post, we'll delve into the rich heritage of Weller Bourbon, explore its unique wheated formula, and understand why it continues to be a sought-after spirit in bars and liquor cabinets across the country.

The Heritage of Weller Bourbon:

The Weller brand was pioneered by William Larue Weller, a man whose name would become synonymous with top-tier bourbon. Weller had the innovative notion to replace the traditional rye component of bourbon with wheat, a decision that would set the course for a new whiskey style. The year was 1849, and the bourbon landscape was forever changed.

Weller's choice to use wheat instead of rye is not just a matter of grain but one of taste and refinement. Wheated bourbon typically yields a softer, smoother profile with less spice and more gentle, bread-like sweetness. This approach was revolutionary, influencing other prominent labels in the industry, including the prestigious Pappy Van Winkle line.

The Weller Bourbon Lineup:

Weller Bourbon's lineup is a testament to the diversity that can be achieved within the confines of a single grain change. Each variant offers a unique experience:

Weller Special Reserve: Known as the "Original Wheated Bourbon," it offers a softer flavor profile, perfect for those new to bourbon or who prefer a less aggressive whiskey.

Weller Antique 107: With a higher proof, this version caters to those looking for a bolder taste without sacrificing the inherent smoothness that wheated bourbon provides.

Weller 12 Year: Often compared to the elusive Van Winkle bourbons, this aged spirit is a testament to the complexity that time can bring to a well-crafted whiskey.

William Larue Weller: Released annually as part of the Buffalo Trace Antique Collection, this uncut and unfiltered bourbon is a powerhouse of flavor, often eclipsing many other high-end bourbons in blind tastings.

Weller Full Proof: Bottled at the same proof as when it enters the barrel, this offering is for those who want to experience bourbon in its purest form.

Weller Single Barrel: Each barrel is unique, offering a distinct profile, which makes each bottle a collector’s item for whiskey aficionados.

The Weller Cult Following:

In recent years, Weller Bourbons have developed a cult following, with enthusiasts eagerly awaiting each new release. The anticipation for limited editions like the William Larue Weller has led to a vibrant secondary market, with bottles sometimes selling for multiples of their retail price. This fervor is a testament to the quality and craftsmanship that the Weller brand has consistently delivered.

Weller Bourbon in Cocktails:

While excellent on its own, Weller Bourbon also shines in the cocktail world. Its wheated profile makes it a versatile player in classic concoctions. The smoothness of Weller Special Reserve makes it a sublime base for a Whiskey Sour or Old Fashioned, while the robust character of Weller Antique 107 can stand up to more complex mixers in a Manhattan or a Boulevardier.

The Future of Weller Bourbon:

As the demand for Weller Bourbon shows no sign of waning, the future looks bright for this iconic brand. Buffalo Trace Distillery, the custodian of the Weller legacy, continues to invest in the production and aging of Weller bourbons, ensuring that this cherished whiskey will grace glasses for generations to come.

Conclusion:

Weller Bourbon is more than just a whiskey; it's a piece of American history, a staple for collectors, and a testament to innovation in a category steeped in tradition. From its humble beginnings to its current status as a cult favorite, Weller has shown that with time, patience, and a little bit of wheat, whiskey can be elevated to an art form. So, the next time you raise a glass of Weller, know that you're savoring a sip of liquid legacy.

Whether you're a longtime aficionado or a curious newcomer, Weller Bourbon is a journey of flavor worth exploring. As the Weller saying goes, "We invite you to drink it in a wheated way." Cheers to that.

[amnglobal]

Update 📍🌍| Suggested Readings

“The Black Community is Fighting a Silent War…”

Dr. Constance Craig-Mason, MRFC® is a 9x bestselling author, an award-winning Insurance Broker, CEO of Concierge Financial Advisory and passionate International Speaker.

In her revolutionary third volume of the Money TALK$ series, she has an important message for the black community.

Today, this community is fighting a silent war… and if we don’t fight back, we’re gonna lose.

In celebration of her new book, carefully compiled with 24 of the most exceptional black voices in finance, Dr. Constance Craig-Mason is giving access to this groundbreaking new guide with special bonuses at www.monetalkschallenge.com

Best of all, in celebration of launch week, the eBook is only $4.99 (get it now, or you’ll miss out!)

P.S.

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www.moneytalkschallenge.com

Take charge of your financial future!

[mifunebooty]

Somebody get Oscar Isaac's peepee filmed more, society needs more of his penis scenes

[aliford]

I know a singer with my name. She didn't go by Ali, though, and my mom is the only one who uses my government name. Hell yes, fucking snickerdoodle all day. I tried to make a snickerdoodle cheesecake with a snickerdoodle pie crust once, that shit did not set. I don't know what I fucked up, but I mighted just dumped milk and cinnamon in a bowl. So that's kinda on me, but that's woukd still be a fucking delicious idea.

That would be pretty fucking revolutionary. Telling uncut and unfiltered stories. I'd watch that. Making your own platform sounds like a bitch though.

Yes, that is why. I'm kind of brilliant. Oh I don't really know any movie characters called Ali, except the girl from Karate Kid. But yes you get 10 points! If you have the most points by the end of the week then I will bake you your own personal giant cookie. Any preference on flavor?

Neither, I want to create my own platform. Tell the real stories of people, sit down for exclusive interviews but not change anything or screw people over

[subdee]

So she says, but we all know that leaving Ohtori Academy is the happy ending :P

This was fun!  Maybe I’ll actually play the game for real after this, XD. 

[alister312]

What Do We Canonically Know About Christophe aka “The Mole”?

“What do you think this is, kid? [...] Huh? This is real life with consequences you take to the grave!”

For a character with only around 5 minutes of screen time in the 1999 film South Park: Bigger, Longer, and Uncut, Christophe (aka The Mole or Ze Mole) left quite the impact with the SP fandom. Much of this is due to the fact that, despite how little we see of him, he has such a complex and interesting personality. Is it really possible to obtain such depth of character in so little time? Today, I’d like to answer that question by exploring everything we canonically know about Christophe, as well as some personal speculation based on the canon.

To start, I’ll state that what I am taking to be canon is everything that happened in the movie, along with South Park Studios wiki page about him (as close to an official wiki as I can get).

The first time we hear about Christophe, he isn’t even present.

After Stan and the others volunteer to execute Gregory’s rescue mission for Terrance and Phillip (T&P), Gregory insists that they need help from someone who has “done this sort of thing before”. He hands them a card that has the address of someone who Gregory refers to as “The Mole” and claims he is “an expert in covert operations” and “a mercenary for hire”. Though Gregory calls him a mercenary, no money seems to actually exchange hands when the boys recruit him, so it’s possible that Gregory uses the term “mercenary” loosely. However, we know at the very least that Christophe is experienced when it comes to mercenary-esque work.

Additionally, we know that Gregory and Christophe know one another. According to Gregory’s official wiki, in one of the movie script drafts, Christophe asks Gregory if they are going to “free more Canadian prisoners”, implying that the two of them have been doing revolutionary work together already. While this concept doesn’t make it into the actual movie, I feel the fact that the official wiki page for Gregory references it means their implied partnership is something not to be overlooked.

Similarly to Gregory, Christophe is very familiar with the layout of the army base where T&P are being held and the exact window of opportunity during the USO show when they can be freed. He also knew a spot to dig into the base where they won’t be immediately spotted, where to go to lay low once they’re inside, where the electrical box that shuts off the alarms are, and that there are alarms and that he will be attacked by guard dogs if they sound. Christophe even brought along wire cutters to deal with the barbed wire when sneaking into the base. This level of detailed knowledge and preparation is likely something he could only know from having scouted for the rescue mission ahead of time. Since Gregory conceptualized and presented the rescue mission during the La Resistance meeting, as well as initially volunteered to go, it’s possible that both he and Christophe planned it ahead of time.

While on the subject of Christophe and his mercenary/revolutionary work, I would be remiss to not focus a bit on his incredible digging prowess. In addition to literally being named “The Mole” (an animal known for digging), Christophe utilizes tunneling twice during the mission. The first time is to break into the army encampment and the second time is to sneak onto the stage to rescue T&P. Supposedly, he’s able to do this in the span of less than 20 minutes, judging by the time on his watch at the start of the rescue mission (9:40) and the fact that Stan doesn’t seem late to the rendezvous later in the movie, which was set to happen at 10:00. This implies that Christophe possesses good, inhumanely fast digging skills, especially since he claims that the USO stage has bedrock and he is able to get through it.

Going back to earlier, before we actually see Christophe, we learn more about him. First, it can be assumed that he lives in the town of South Park (house number 810), as Stan and the others can easily walk to his house. I know they walked because they’re meant to be grounded at the moment, so they can’t ask for a ride anywhere. Second, Christophe’s mother answers the door, which means we know that Christophe has (at least) a mother. Speaking of his mother, the two of them have an intriguing relationship that is never fully stated, but a lot can be inferred from what is implied.

For starters, it’s not until she calls him to the door that we learn his name is “Christophe”, as before (and the rest of the movie) he was only ever referred to by his code name “The Mole/Ze Mole/Mole”. However, when the others use that name, Christophe’s mother knows who they’re talking about. This means she’s aware of what he does, but it’s possible she doesn’t quite know how real it is considering she tells the boys at the door that “Ze Mole[…] can’t come out and play”. Breaking into a US army camp to free political prisoners seems a bit intense for the word “play” to me. Also, the reason I use “Ze Mole” here is because she has a thick French accent. This begs the question of whether Christophe got his accent from growing up in France or simply developed an accent from socializing mostly with his mother. Sadly, I don’t have an answer.

Christophe’s mothers says the reason Christophe can’t “play” is because he’s grounded for saying “very naughty things about God”. This specification that she is upset with him because he said naughty things about God rather than naughty things generally implies that she is 1) Christian and 2) cares a lot about respect towards God. This idea is further supported as she later gets upset (off screen) when she overhears Christophe starting to talk about God as an oppressive force later on. Her fixation on blasphemy (and Christophe’s constant usage of it) hints at the idea that she is perhaps raising Christophe in a very religious environment. Considering the fact that his name relates to being a devout Christian, this idea is very likely.

Despite how Christophe rebels by vocalizing his hate towards God, he appears obedient to his mother at least on a surface level. He comes to the door when she decides to let Stan and the others talk to him as soon as she calls him. He also immediately stops talking when she yells at him for badmouthing God again, snuffing out his cigarette and going back inside right away. (“What?! Christophe, get in here!” / “Coming, mother!”). He even initially turns down the opportunity to rescue T&P just because he’s grounded. Still, Christophe does actively disobey her by sneaking out later and continuing to blaspheme when not in her presence. It’s possible that he’s scared of her, which is why he is quick to heed her but refuses to actually change his ways.

When we first see Christophe, he doesn’t appear very reactive to the strangers on his doorstep until Stan starts talking about their rescue plans. He immediately grabs Stan and shushes him, demanding “Who are you? Who sent you?” Even though he’s just a kid, Christophe seems extremely paranoid, which means his mercenary work might be legitimately dangerous. There’s a chance that he’s a wanted criminal. However, he lets go of Stan once Kyle mentions “that Gregory kid” sent them, implying that Christophe trusts Gregory and his judgement despite his paranoia.

The reading of Christophe’s next line is a bit difficult to parse. Depending on the emphasis, he is either shocked that Stan, Kyle, and Cartman are the ones going on the rescue mission or he’s shocked that the plan in general is to rescue T&P during the USO show. If it’s the former, then he is rather quick to judge. Sure, Stan started explaining a covert plan with sensitive information at a normal speaking volume, but Christophe barely knows him or the others. How could he know if they’re incompetent or not? However, if it’s the latter, then it implies that a rescue mission of this intensity is too much, even for Christophe. This would shed some light on what level of mercenary work he’s taken on in the past.

Either way, Christophe initially refuses only because he’s grounded. If he really is an expert mercenary (and the narrative paints him as such), then it’s curious that something as simple as that is what stops him from helping in revolutionary work. He even references grounding as a legitimate threat twice more in the film. This could connect back to the idea that Christophe fears his mother, to the point where he’s less scared about the difficulty of the mission and more worried about upsetting his mother. He only relents once he hears the other boys are meant to be grounded too, perhaps admiring their bravery for rebelling against their mothers and wanting to join in solidarity. When asked, Christophe reveals that the reason he was grounded was “because God hates [him]... He has made [his] life miserable so [Christophe] calls Him a cocksucking asshole”.

With that said, let’s talk about Christophe’s repeated displays of misotheism, or hatred of God. We already touched on his mother’s attitude towards God and her potential relationship with Christophe, which could contribute to why he feels the way he does. Beyond based speculation, though, Christophe voices his hate towards God a lot. Aside from his grounding, he goes out of his way to bad mouth God, calling Him “the biggest bitch of them all” and equating him to the US military, who he seems to hate (referring to them as “military bitches”), just because Kyle says “Oh my god” in response to something.

Then, of course, Christophe uses some of his dying breath to bemoan God and point out the hypocrisy of the idea that He is benevolent and merciful (“Where is your God when you need him, huh? Where is your beautiful, merciful faggot now?”). The fact that he casts doubt on the idea of God being infallible and suggests that He is, in fact, selective in who He helps, really continues to potentially paint Christophe’s mother in a bad light. Or, at least, whatever experience Christophe has potentially had with other religious (specifically Christian) people.

The oddest thing, in my opinion, is that Christophe still believes he is headed to Heaven when he dies. In fact, he has an almost resigned excitement about it, challenging God and threatening Him (“Here I come, you fucking rat!”) right before his death. Despite Christophe’s hatred of God, he also clearly still believes in Him and sees himself as worthy of Heaven. His feelings towards religion may seem very clear at a cursory glance, but there’s a lot of complicated emotions involved. This may connect back to his mother, or perhaps even to Gregory, who does seem to believe in God as a force of good.

Christophe has personality traits outside of blasphemy though– the most prominent being his sense of humor! The watch he brings on the mission is labeled “Third Act: The Ticking Clock”. This is a reference to the fact that many movies will introduce a ticking clock (or just a deadline of any kind) in their third act in order to draw the audience back in. Outside of the obvious meta joke for the audience, I want to believe that Christophe finds humor in giving himself a “ticking clock” to make his missions more exciting. Considering how obsessive he is about the timing of everything (becoming upset when the boys don’t have watches to synchronize with him), I don’t think he’d get a watch with that label for no reason.

Another humorous thing he does is using a View-Master toy as binoculars in order to observe T&P. When Kyle asks if Christophe can see T&P, he claims that he can, yet the audience is shown that what he’s actually seeing is a bunch of safari animals. He seems to really like these types of animals, especially considering his distress signal is the sound of a dying giraffe. Going back, the fact that he uses this toy as if it’s a real pair of binoculars, lies about his observations while also being incredible accurate, and then gets the others to follow him by saying “Come on beetches” gives the impression that Christophe enjoys being funny, even if he is the only one getting the joke.

The other joke he makes in the movie also falls flat, though Christophe doesn’t seem to mind. While checking that the others brought everything he asked them to bring for the mission, he asks if they brought the “buttfor”. When Kyle responds with “What’s a buttfor?” Christophe replies “For pooping, silly” and takes a long drag of his cigarette. Despite the sensitive, timed nature of the mission, he takes the opportunity to crack a joke, a toilet humor based one at that. He has a very dry wit about him. Even if his expression remains deadpan as he tells it, the fact that he makes the joke throws doubt on the idea that his personality is one of only angst and brooding.

While he may be enough of a kid to use a toy like legit spy gear or crack toilet jokes, Christophe comes across as much more grounded and intense than the other boys. In addition to all his darker thoughts on God, he treats the mission with a grave seriousness. He chastises Stan for being focused on Wendy and finding the clitoris instead of what they’re doing (which also implies that Christophe knows what the clitoris is while the other boys don’t). He yells at Stan (and the others by proxy) again after learning they don’t have watches, reminding them all that “this is real life with consequences you take to ze grave”. He appears to take great offense to Cartman’s lackadaisical attitude about shutting off the alarms too, which makes sense considering how Cartman forgetting to do so results in Christophe’s death.

Death and injury are things Christophe seems quite familiar with. When telling Cartman he has to shut off the alarms or Christophe will be attacked by guard dogs, he is very insistent about his hatred of them (“You must shut off ze alarms! I fucking hate guard dogs!”). This gives the impression that he has experience dealing with guard dogs, specifically being attacked by them. Considering his implied history of mercenary work, this isn’t surprising. This is not the only known brush with death Christophe has had though. He reveals, rather unnecessarily, to Stan and Kyle that his mother attempted (and failed) to abort him (“Was my mother careful when she stabbed me in ze heart with a clothes hanger while I was still in ze womb?”). That particular interaction also shows that Christophe somewhat lacks emotional boundaries, or at least a basic understanding of social situations and dynamics.

This familiarity with death could explain why Christophe takes his own death in stride. Aside from asking Kyle to hold him, which seems more out of necessity since he can no longer stand, Christophe tries to get the others to abandon him so they won’t also get hurt. He doesn’t even get angry when Cartman admits that it was his fault that the alarms went off, but it’s possible he just doesn’t have the energy to while dying. Christophe’s song, a short reprise to Gregory’s song La Resistance, is about how “although [he] dies, [their] freedom will be won”. Christophe, like Gregory, seemingly idolizes the concept of being a martyr and dying for a cause, specifically fighting for freedom. The notion comforts him, and he’s able to face his death nobly.

It should be said, however, that Christophe is not actually dead! At the end of the movie, Kenny wishes for everything to go back to how it was before, reviving everyone who died. Even if we don’t see Christophe again in the movie, leaving his fate uncertain, he does appear once in the actual show of South Park. In the episode Two Guys Naked in a Hot Tub (s3e08), Stan flips through many TV channels. For the briefest moment, Christophe is on the TV, seemingly a guest on a talk show of some kind. It’s unclear why he might be on one, but given the fact that the episode aired after the movie was released, this proves that Christophe is alive.

Now that we know all there is to canonically about Christophe, what can we say about him? First, he and Gregory not only know one another, it’s implied that they’ve worked together on past mercenary/revolutionary work. Christophe himself is an expert and experienced mercenary in all aspects (scouting, planning, and doing). He defaults to tunneling as his main method of operation, likely because he digs incredibly fast and efficiently. This tunneling is also probably why everyone calls him “The Mole”. Christophe and his mother have an interesting and seemingly strained relationship, stemming perhaps from his fear of her and/or her anger towards his disdain for God. This disdain for God permeates so much of Christophe’s character and he takes any opportunity to voice it.

In addition, he is hinted at having various near death experiences in the past, which results in him having a stern personality, becoming frustrated when others aren’t taking things as seriously as him. When he does die, however, he doesn’t fight it and takes comfort in being a martyr for a good cause. Despite this emotional baggage, he has a prevalent and dry sense of humor, as well as an apparent interest in animals. Lastly, Christophe is not actually dead and was actually resurrected via Kenny’s wish at the end of the movie.

[ratingtheframe]

Films you need to watch if you want to fit in at film school.

By now, you’re probably knee deep in your filmmaking course at film school or university and if you want to keep up with the film discussions in between classes, then here’s a list of exemplary films to watch (and flex on) whilst at school. 

It’s never a fun moment when you’re sat in a group of other film buffs and everyone but you have seen one particular film. Not only that, but they continue to bang on about it, and in those 12 minutes you’re left wishing gosh, I wish I had watched that now.

I know the feeling and to make sure you don’t get caught out again, this list of films not only covers your filmmaker wannabe basics, but also a few swarve anomalies that you can throw into the discussion like a true culture vulture. 

Pulp Fiction (1994)

I shouldn’t be saying this but if you haven’t seen Pulp Fiction and you made it to film school, just leave. Hand in your student ID at reception and walk out the door, watch Pulp Fiction and come back to the next day. If you haven’t seen the 90s cult classic directed by Quentin Tarantino, it’s likely you’ve had at least one person disgusted by your lack of engagement for the film. But why is it such a necessity amongst the filmmakers of today? Well after a highly successful debut of Reservoir Dogs at Cannes Films Festival in 1992, Tarantino created another world of filmmaking. What he brought to the industry was a perspective and whole landscape that had never been seen before and the release of Pulp Fiction in 1994, certainly proved that Tarantino wasn’t a one trick pony. With a stellar cast, most of which were in their early days, and an outstanding storyline, Pulp Fiction is any filmmaker's paradise. And seriously, you can’t keep avoiding it. 

Fight Club (1999)

Keeping it in the 90s, is David Fincher’s Fight Club, another revolutionary film from the king of psychological thrillers. If the name David Fincher doesn’t mean anything to you, it probably should, seeing as his films have grossed over $2.1 billion at the box office globally and earnt him 30 Academy Award nominations. Story, script and cast align perfectly in all of Fincher’s films, with Fight Club being no exception. Based on the 1996 novel by Chuck Palahnuik, Fight Club follows two men (Brad Pitt and Edward Norton, enough said) who initiate in an organised fight club. Sounds pretty straight forward until you get to the end and realise Fincher has been messing with all of us the entire time. In terms of early filmmaking and story structure, Fight Club is an excellent cult classic to sink your teeth into.  

Psycho (1960)

Another name to be aware of, Alfred Hitchcock laid down the foundation for thrillers for generations to come. For it’s time, Psycho was revolutionary as it broke the strict censorship and threat barriers created in the world of filmmaking in the 60s. There are some iconic scenes in Psycho, along with an unnerving score and a whopping $39.2 million profit in the box office. Hitchcock also took a gamble killing off the star of the film, Janet Leigh, 45 minutes into the film. However, Psycho just goes to show that risks can also pay off. 

La Haine (1995) “The Hate”

There’s a reason why some of the most revolutionary films can be found in the 90s. The 90s was the year of filmmaking that gave two fingers to the world and most of its stories belonged to the misfits and outcasts of society. Films were violent, punchy and led by young protagonists, raking in teenage audiences and voices. La Haine is a prime and clear cut example of the injustice between races and class in Paris, winning a Best Director award at Cannes in 1995. The film was so thought provoking and hard hitting, that the Prime Minister of France at the time forced his cabinet ministers to watch it. I’m sorry, if La Haine is good enough for the Prime Minister of France, it’s good enough for anyone. 

Any Bong Joon Ho Film 

With the success of Parasite still looming over Hollywood, Bong Joon Ho has to be the industry’s biggest underdog. Before the 2020 Oscars, most weren’t even aware of the director’s work or how gratifying he is as a storyteller. Each film is meticulously executed, with a hard hitting political message sewn beneath the surface of the overall film. Bong Joon Ho was quoted saying that this technique isn’t intentional and the breadth of the films he makes is found once they’re completed. From Okja that explores animal cruelty to Snowpiercer which explores class division, Bong Joon Ho has a way with imbedding societal issues into his films in a stylstic and structured way that should have any filmmaker filled with envy. He’s a strong voice for Asian cinema who’s had a sharp impact on western cinema without feeling the need to have all his films in the english language. 

The 400 Blows (1960) “Les Quatre Cents Coups”

Whether you’re at school, in a lecture or amongst friends GUARANTEED the 400 Blows is going to worm its way into conversation at some point. The film was part of The French New Wave movement of the last 50s that created the foundation for French Cinema for films to come. The French New Wave was a significant movement that sought out to reject traditional ways of filmmaking and introduced new, more experimental ways of telling stories on screen. Francois Truffat won Best Director at the 1959 Cannes Film Festival for his directorial debut about a young boy struggling through Paris between his teachers at school and parents at home. The film shone a light on the misunderstood youth of the late 50s and early 60s, setting off a whole co-ord of films within the same genre later on. 

Moonlight (2016) 

Barry Jenkins became the underdog of 2017, with his beautiful and captivating story Moonlight, following a young boy through early adolescence and adulthood. The film is impeccably shot with rich colours and seamless shots. Moonlight won big time at the 2017 Academy Awards, winning Best Picture, Best Supporting Actor and Best Original Screenplay. The film certainly set the world of filmmaking on fire and carved out space for more black filmmakers to enter into the industry. 

Hereditary (2018)

It’s easy to forget that this film was released 2 years ago as it has had some groundbreaking reception since then. Hereditary, directed by Ari Aster, sets a bar and tone within horror films that has never been touched on before. Before him, your average horrors came from low budget gimmicky films where the lead actress would be running around in her underwear by the end of the film. Hereditary keeps everyone in their clothes (for the most part) and viewers on the edge of their seats for the entirety of the film. What stands at the forefront of this film is the slow pace and artistically beautiful frames that Ari Aster has meticulously curated to create a work of art. It’s everything you wanted in a horror film but could never really ask for, due to the over saturation of the horror films on the market and predictable jump scares that come with them. I found that the jump scares in Hereditary were put in the most unpredictable places, leaving me and most people visibly shaken and disturbed. 

The Grand Budapest Hotel (2014) 

Probably the first PG film on this list, Wes Anderson’s most iconic film The Grand Budapest Hotel, is a production designer’s paradise. Not only that, it features an insanely good cast with the likes of Jeff Goldblum, Ralph Fiennes, Bill Murray, Saoirse Ronan, Adrien Brody, Tilda Swinton, Willem Dafoe, Harvey Keitel, Jude Law and Edward Norton starring in the film. Wes Anderson’s mind is like a fairy tale book; he has the ability to create other worlds filled with bright colours and characters that EVERY ACTOR are dying to be. The Grand Budapest is probably Anderson’s most ambitious film to date and features some production design techniques that are beyond real.

Amélie (2001) 

Amélie is your basic starter pack in French Cinema. Seeing as every charity shop has at least one copy of Amélie for sale, you have zero excuse for not having seen it yet. Even if French Cinema isn’t your thing, it’s very likely the entirety of French Cinema will be a topic of interest within your filmmaking course and Amélie is a fine place to start. The film ties the story, soundtrack and visuals perfectly and for any indie filmmaker, it’s a good example of taking a simple story but executing it in a complex way. In terms of box office, Amélie scored pretty well, with a humble budget of $10 million and making over $173 million globally. It was also nominated for five Academy Awards in 2002 and remains as one of the best and most iconic films to come out of France.

Good Time (2017)

With a humble budget of $2 million, Good Time made double in the box office and had a Hollywood star at its forefront. In fact Good Time skyrocketed Robert Pattinson’s career and since it’s release, Pattinson has gone on to be part of some amazing projects. Seeing Pattinson in such a gritty role in Good Time, was highly refreshing and totally suited him in every way. New York based filmmakers, Josh and Benny Safdie co directed and wrote the crime thriller after having an impressive response from their previous film, Heaven Knows What. They recently completed Uncut Gems for Netflix starring Adam Sandler, which continued the crime thriller neon lights aesthetic that's come with their two previous films. Good Time is jaw droppingly good, and for those wanting to go into lighting, it is a must watch. The deeper the story goes, the more you feel the urge to gasp as Robert Pattinson feeds us with an unrecognisable performance. 

8 ½ (1963)

We are getting into sophisticated territory here with Fredrico Fellini’s 8 ½ . For those Scorsese and Tarantino fans out there, Fellini is your filmmaking bread and butter as both filmmakers have admitted to being heavily inspired by the Italian’s cinematic masterpieces. Fellini had the ability to tie reality with fantasy in a personal way, depicting a lot of his own life within his films. 8 ½ is no expectation, as it details the making of the actual film in the film and the rocky relationship he had with his wife, who starred in a few of his films. Fellini is named as one of the best filmmakers of all time, for his experimental style and off the wall filmmaking techniques. No one can or could do what Fellini did and there’s yet to be anyone who measures up to him. 

Get Out (2017)

You like Get Out, I like Get Out, we ALL like Get Out. The film was the first of its kind in many ways and resonated with an audience that hadn’t yet been found. Jordan Peele wrote and directed the film, which grossed 100 times more than the film’s budget at the box office. This film is the epitome of less is more, taking a somewhat simple idea and heightening the possibilities of it. Jordan Peele became world renowned for it, along with British actor Daniel Kaluuya for his performance that earned him a Best Actor nomination at the 2018 Academy Awards. Get Out stands as a film that did what no one else has done before and for that, it deserves all the praise it gets. 

All Celine Sciamma films

It’s likely the first time you heard of French filmmaker Celine Sciamma was from her groundbreaking, break through film Portrait of a Lady on Fire. Premiering at Cannes 2019, the film earned the Queer Palm d’Or and Best Screenplay Award. The film is simple, gorgeously shot and significantly deep in its telling. Not only will Portrait of a Lady on fire set you on fire, but all of Sciamma’s films sit on a level of filmmaking that is praise worthy. Her past films, Waterlilies and Girlhood explore coming of age stories amongst women and are executed in a highly personal and understanding way. She is the queen of female indie filmmakers and certainly one of the best french filmmakers in the industry to date. 

I, Daniel Blake (2016)

It can be hard to remove the gimmicks and big names from the stories being sold on screen and get straight to the heart of a film. Ken Loach has brought an incomparable style of filmmaking to the table that sets him apart from almost every filmmaker out there. It's easy to compare a Tarantino film to a David Fincher one, however, throw Ken Loach into the mix there's just about zero relation to either filmmaker or their styles. I, Daniel Blake won Outstanding British Film of the Year in 2017 BAFTAs and the Palm d’Or at the 2016 Cannes Film Festival. It’s no wonder why the Cannes Film Festival ate this film up seeing as the realism and grittiness of I, Daniel Blake gave a voice to a large part of society that is heavily ignored. This film leaves you nodding in agreement at the reality of the way things are even if that reality is incredibly hard to bear. 

The Meyerowitz Stories (2017)

For those budding screenwriters out there, the work of Noah Baumbach is necessary in understanding three dimensional characters and the dialogue that comes with them. The Meyerowitz Stories stands from Baumbach’s other films, seeing as the screenplay and actual film are completely the same. On reading the screenplay of this film, I found not one single word of dialogue was forgotten about or changed, which is a pretty incredible achievement for any filmmaker. It certainly showed the actors (Dustin Hoffman, Ben Stiller, Adam Sandler, Emma Thompson, Adam Driver) had a lot of respect for the words on the page and each one of their performances sought to lift them off it. Baumbach’s writing style is beautifully accurate to real speech; there’s interruptions, over layered conversations and a great deal of tangents. The dialogue is like music and is only elevated by the well rounded cast.

The Master (2012)

Filmmaker Paul Thomas Anderson has this hypnotic way of arresting his audiences to invest in his films for two and a half hours, then drop them at the last second. You don’t know why you’re watching or feel so absorbed in the worlds he creates, however it’s as if something over takes your attention, forcing you to carry on watching till the end. The Master is no different with a prolific cast and slow burnt pace to it. It's hard to explain what it is about this film that makes it so great. The cast made up of Phillip Seymour Hoffman, Joaquin Phoenix, Amy Adams and Jesse Plemons bring a top level performance and it feels like they’re always sitting on a secret. Every moment, every word, every shot is unmissable and the entirety of the film sets a bar of filmmaking that is flawless. Paul Thomas Anderson is a master (pardon the pun) of arresting his audiences and is someone to follow if you wish to do the same with your own films. For budding cinematographers, all of PTA’s films are worth a watch. 

12 years a slave (2013) 

Probably the best film out there that depicts slavery, 12 years a slave is a heart wrenching and moving film directed by Steve McQueen. The sensitivity and authenticity Steve McQueen brings to his films is A class, as he does an outstanding job of really transporting his audiences to a time before. There are many scenes in 12 years a slave that can be considered some of the best ever made. The cast is in-sane with the likes of Chiwetel Ejiofor, Lupita Nyong’o, Benedict Cumberbatch, Michael Fassbender, Paul Dano, Sarah Paulson, Brad Pitt and even a young Storm Reid and Kelvin Harrison Junior, all joined within this story. Films with such casts are rare and it’s unquestionable why the film was nominated for Nine Academy Awards, winning three back in 2014.

The Social Network (2010)

Even though I wasn’t a fan of The Social Network, I can still appreciate the musicality behind the work of Aaron Sorkin and the screenplay he wrote for this. The collaboration between David Fincher and Aaron Sorkin on this film is something the world certainly needed, as two highly skilled masters of film came together and served us a huge slice of their talent. The Social Network is 100% the screenwriter’s film, and one to watch when trying to analyse successful dialogue within films.

 Babel (2006)

Those who are into the episodic film, you are advised to look into the work of Alejandro G. Iñárritu. A name you might not be too familiar with, but you only need to have seen Birdman or The Revenant to appreciate his talents as a director and unique voice. Babel struck me as a poignant and INCREDIBLY structured film, with a satisfying 360 to it, as all the stories connect to one another in a distinct way. It’s so clear that a lot of time was put into writing such a screenplay and the production itself is to be noted, for scenes are filmed in Morocco, Tokyo, California and Mexico. That takes a LOT of money, time, effort and people, however if was certainly worth it as Babel is hands down one of the best films you’ll ever see.

The films of Xavier Dolan. 

Xavier Dolan is Cannes Film Festival’s godson. The man has attended every festival for the past 10 years and each time, when in competition, he brings a personal and hard hitting perspective within his films. I have seen all but one of these films, and I suggest you do too. Xavier Dolan’s directorial debut I Hate My Mother scooped him numerous awards at the Cannes Film Festival and was made when Dolan was only 20. From then, he went on to direct several french/canadian films that won him the Jury Prize, Un Certain Regard and Queer Palm at Cannes. He’s a filmmaker who puts so much passion and devotion into his work, which is seen through the incredible acting, story and dialogue shown within his films. Two must see films of his would be Mommy and Laurence Anyways, especially for the acting. Xavier Dolan also directed the music video for Adele’s Hello music video which is one of the most watched music videos of all time, with 2.7 Billion views on YouTube.

You Were Never Really Here (2017)

Lynne Ramsay’s 2017 film starring Joaquin Phoenix is everything and more that you want from a thriller. It’s probably one of the best thrillers out there on the market and is highly underrated. Lynne Ramsay’s previous spellbinding feature We Need To Talk About Kevin sent pulses racing through the industry, giving Ramsay the recognition she deserves and even earning her a Palm d’Or nomination at the 2011 Cannes Film Festival. As a female filmmaker, Lynne Ramsay is one to watch for she has a knack at creating her own original slow burning, deep stories and directing them in a seamless way. 

The films of Christopher Nolan

Christopher Nolan’s 11th film recently hit cinemas and no one knows what the hell is going on in it. However, there are plenty of other Christopher Nolan films that don’t melt your brain or send the guy next to you at the cinema cursing throughout the film in frustration at not understanding the film. The Dark Knight is said to have one the best performances in cinema history, with the late Heath Ledger taking on the role of the Joker. Not only that, but the likes of Gary Oldman, Michael Caine, Anne Hathaway and Christian Bale are also featured alongside Ledger, creating an untouchable cast. Dunkirk also deserves an honourable mention as one of Nolan’s films, seeing as I couldn’t breathe throughout the entire film. The second Dunkirk begins, the tension builds and you’re kept in a constant state of panic for the characters on screen. As far as war films go, Dunkirk is up there and it’s cinematic qualities were recognised at the 2018 Academy Awards, picking up three awards. What we can take from Christopher Nolan and his ability to execute stories on screen is that he spends a great deal on his screenplays before production. Tenet took FIVE YEARS to write (and probably another five to understand) certainly showing his devotion and dedication to his ideas as a filmmaker.

Honorouble mentions (that u should definitely check out)

Taxi Driver (1976) A Clockwork Orange (1971) Call me by your name (2017) Her. (2017) Do the right thing (1989)

Obviously there are 100s of other films worth watching that aren’t on this list, however if you were to watch all films mentioned on this list, you’d certainly get a different perspective on the possibilities of filmmaking and the stories they tell.