
Nerdy office worker Min gets his kicks taking sneaky snaps of his female co-workers, spying on his neighbours having rough sex, and coating himself in oil before bashing one out to internet porn; things change, however, when he mixes ingredients from his late grandfather's medicine shop to create the ultimate aphrodisiac/date-rape drug, which he uses to satisfy both his sexual urges and his desire for revenge on office bullies Winnie and Peter.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
The more we learned with each passing minute the bigger the reveal. This film ends with a serious bang and it was truly a joy to watch.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
Many call 'Tragedy Girls' a modern-day 'Heathers', and I do see the resemblance. The film asks the same question that all teenagers suffer with: who am I? Well, the movie answers this — you are your online presence.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).