Pierre is a womanizing photographer, with a slight mean streak. For whatever reason, Camille, an artist in her own right, finds him entrancing and easily succumbs to his devious efforts to get her into bed. Soon she is trying to hold him to her with her oh-so submissive love, and he is playing some games with her head by pretending (usually) to have been playing around with others. Eventually, he encounters another woman who is not so sticky and tells her to buzz off. When they meet some time later, it becomes clear that the relationship meant different things to each of them.
One of the reasons I love watching movies is that, much like books, they serve as windows into other times and different places. Productions from around the world offer valuable insights into the history and culture of their respective countries. And just like literature, cinema can help us understand the present by showing us the past.
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
A boy named Max experiences adventure within his own house while staying home alone.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
When it comes down to it, The English explores what happens when power is unchecked and how those who seem powerless, have more strength than most through their convictions for justice.
'The Fablemans' is Spielberg's most personal work to date, the cast delights audiences at the TIFF premiere.
