Freyne manages to indict the societal expectation of heterosexuality as a traumatizing force while also humanizing its straight victims. After being sentenced to a gulag for disgracing his country with his prior film, Borat is offered by former Kazakh President Nursultan Nazarbayev (Dani Popescu) a chance to redeem himself by traveling to America and gifting Vice President Mike Pence with the locally famous simian porn star Johnny the Monkey. Nayman charts, again in a nearly reverse order, how Anderson reigned in his juvenilia—the self-consciousness, the overt debts to various filmmakers, the wild mood swings—to fashion a tonal fabric that still makes room for all of those qualities, only they’re buried and satirized, existing on the periphery. Angst elides all psychological trappings, instead tapping directly into this all-consuming desire for destruction on a purely physiological and experiential level. As in Ginger Snaps, which Raw thematically recalls, the protagonist’s supernatural awakening is linked predominantly to sex. Even the ages of most of his victims were unknown. At the start of the film, Justine (Garance Marillier) is a virgin who’s poked and prodded relentlessly by her classmates until she evolves only to be rebuffed for being too interested in sex—a no-win hypocrisy faced by many women. (Adolescent sexual curiosity also figures surprisingly little into this particular coming-of-ager.) Gonzalez, Based loosely on one of Edgar Allen Poe’s most disquieting tales, 1934’s The Black Cat is one of the neglected jewels in Universal Studios’s horror crown. Cinematographer Carson Lund bathes the story’s neighborhood settings in a pastel light that again evokes the ‘70s—or, at least, modern pop culture’s impression of the decade. This structure creates a fascinating temporal zig-zag that mirrors the chaotic, uncertain highs and lows of creative work. Shot in 4:3 with sliver-thin depth of field and a lush palette of swampy greens, Amman Abbasi’s Dayveon is largely predicated on the idea of imparting a hyperreal sensuality to a region—an almost exclusively black small town in rural Arkansas—not often depicted on the big screen. The film reaches for pathos only to find tinsel instead. Bad Hair unintentionally mirrors its characters’ own insecurities, teetering awkwardly between straight-faced camp and outright farce as it cuts the scare scenes to ribbons and makes jokes about itself, as if to preempt any disbelief from the audience. In between stings with the Bloods, Dayveon and his likewise recruited friend Brayden (Kordell “KD” Johnson) dawdle away the long summer days on activities we’d prefer to imagine 13-year-olds pursuing: containing violence within videogames or, more ideally still, playing outdoors in sepia-lit woodland. The book opens with 2007’s There Will Be Blood (the director’s fifth film) and penultimately concludes with 2002’s contemporary-set Punch-Drunk Love, Anderson’s final (to date) curdled valentine to San Fernando Valley, as well as his first psychodrama with a loner at its center. Dayveon finds himself pulled between two influences. It’s a tumultuous time for Ruben, and Ahmed enlivens the character with a restless, bristling energy that constantly clashes with the sense of stillness and inner peace that Joe tries to instill in him every day. To see all content on The Sun, please use the Site Map. Only now he’s no longer chasing the dragon, but the chance to regain his hearing, whether through his impulsive desire to lose what remains of it by immediately returning to the stage or by holding out hope for a costly cochlear implant that, despite what he thinks, isn’t quite the guaranteed quick fix that he believes it to be. This archness, which isn’t without sincerity, challenges the sentimentality that marks many a film and real-life ceremony. Tyler Taormina’s Ham on Rye, in which high school children come of age while moseying around the San Fernando Valley in anticipation of an undefined formal event, sets the audience up for a lark. Failures. Shortly after, Abbasi captures the getaway from an armed robbery in only fragmentary close-ups as streetlights periodically illuminate those in the car, their faces glistening with sweat. The adults are forced to contemplate the unthinkable, doing battle with the little monsters and struggling with the notion that they may have to kill or be killed. After all, there are some things in this world even Freud can’t explain. Also, Zemeckis fortunately didn’t feel a need to repeat the previous film’s coda, which tried in slapdash fashion to cast some light on a chilling Grimmsian fairy tale about murdered children. Many of his victims were homeless or forgotten by society, meaning identification was especially tricky. The wrenching ambiguity of 2014’s Inherent Vice, in which Anderson fluidly dramatizes the psychosexual ecstasy, despair, and hilarity of corrosive commercialist annihilation, gives way in the book to Anderson’s 1997 breakthrough, Boogie Nights, which Nayman astutely sees as a virtuoso primitive work, an epic that (too) neatly bifurcates pleasure and pain into two distinct acts while disguising its sentimentality with astonishing camera movements and a tonal instability that’s probably equal parts intended and inadvertent. Justin Benson and Aaron Moorhead built alluringly mysterious worlds in films like Resolution and The Endless. ITV's Des will tell the horrific story through Dennis Nilsen himself, DCI Peter Jay and biographer Brian Masters. The over-the-top acting (the villains speak like Cruella de Vil) is technically in line with Baroni’s animated Insta-grammar, but it becomes a problem when the film tries to tap into something other than its cute flamboyance. You don’t watch Laugier’s harrowing feel-bad masterpiece—rather, you’re held in its thrall. About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes, making what might otherwise be delightfully strange into something too pat and easy. Debut writer/director Amman Abbasi’s tender “Dayveon” finds him tracing the big footsteps of his executive producer, David Gordon Green.Like Green’s own debut “George Washington” before it, this project seeks to find a universal story within a specific environment, while using non-actors and being informed by its very specific people and places. The colors in this movie are tremendous in ways that are incredibly subtle, like how Dayveon’s red clothes pop against the peaceful green surroundings of Arkansas as he walks towards what becomes his first gang initiation. But the filmmakers often play these seven-minute scenes as much for laughs as wonder. Ham on Rye’s second half is informed with a kind of survivor’s guilt that’s also reminiscent of Carrie. ITV's grim drama Des, starring David Tennant in the lead role, tells the story of serial killer Dennis Nilsen. Although his sister's boyfriend reluctantly serves as a father figure and attempts to provide support and security, Dayveon is constantly drawn towards the violence and camaraderie of his new world. The film, far too strange to be flatly interpreted as a conservative lament for lost sexual decorum, convincingly focuses on the body as the root source of all humankind’s tribulations, whether in pursuit of pleasure or gripped in pain. Recurring images of a swarming beehive outside the boy’s home are understood as symbols of a cutthroat social ecosystem even before Abbasi swoops in to reveal a bee sinking its stinger into Dayveon’s arm, and the director continues to belabor this loaded, sub-Malickian imagery throughout. With no parents and few role models, he soon falls in with the local gang. The closing 10 minutes come from a different era in filmmaking, when horror movies could spit in the eye of the status quo and say that good doesn’t always prevail, no matter how much we’d like it to. KONTAKT. It’s the sound of agony and ecstasy intertwined—a form of sonic transcendence that is, for Ruben, every bit as alluring as the heroin addiction that he kicked some four years earlier. This genre resents platitude (certainly, you can count the happy endings among these films on one hand), but the good horror film usually isn’t cynical, as it insists on the humanity that’s inextinguishable even by severe atrocity. Such moments hammer home the unnerving simplicity of the premise, likening drug addiction to volunteer parasitism, rendering self-violation relatable via its inherently paradoxical alien-ness. Abbasi’s movie achieves a strong emotional effect even with camera placement, in which shots are thoroughly composed but not glaring. Nilsen frequented London pubs targeting men, who were often homeless, and chatting to them before luring them back to his flat where he drowned or strangled them. For instance, when Sandro (Leandro Faria Lelo)—who regularly has sex in the woods with a co-worker, Ricardo (Allan Jacinto Santana), after their shift at the factory—happens upon what looks like a leather bar, the place turns out to be an empty construction site where queer archetypes—the harnessed master, the puppy slave, the drag-queen hostess—are there to perform for Sandro and Sandro alone, in a mix of silent performance art and interactive pornography. 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