The second part of an erotic drama, portraying housewives in a housing complex who succumb to their desires and indulge in sensuality. It erotically depicts the love and lust of three different women: Ryoko, an ordinary housewife; Ayumi, who is laid-back and marches to the beat of her own drum; and Shizuko, the leader of a group of housewives who repeatedly cheat on their husbands.
Ever heard of the bad boy type? The type of man who's sexy yet broody, or the type of man who’s dangerous but has a sensitive side? It’s a well-known stereotype that women are attracted to villains. The question is: why are we?
'Air' is a fun film about a company that put it all on the line for a 22 year old kid from North Carolina
'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.
Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
Throughout Brendan Fraser’s career, he has played a plethora of unique, layered characters who explore the importance of not being afraid to display your emotions, something that is often seen to not be a masculine trait. This idea of regulating emotion and what traits men are able to possess creates a toxic atmosphere for men who are often told they should not cry or represent their emotions in any physical way. These characters represent that men can be joyful, emotionally conscious, and sensitive, while also representing their masculine identity instead of painting those qualities as fighting against their masculinity.
