In the beginning, young man and woman are sitting around a pink front door on the ground. As the man looks through the door crevice. A young girl, a middle aged woman and a old woman appear. They argue they are relatives of her, insist they won´t hand out a corpse, and ask for money. In the film, the color pink is seemingly connected to selfish fantasy about love of men. Just splendid color and light, and afterimages of them matter.
There’s no two ways about it — Bridgerton is horny. Shondaland’s newest venture- released on Netflix on Christmas- is certainly a spectacle to behold, just as the premise; essentially an Austenian, Regency-Era Gossip Girl, helmed by Shonda Rhimes, the reigning queen of steamy romance television. It would not be inaccurate to describe it as Jane Austen porn.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.
Films can alleviate alienation by presenting realities where the viewers feelings are shared by onscreen characters. The film 'Shrek' can be interpreted as a transgender story.
Not every silence is empty. Some are filled with things too heavy for words.
