A female journalist hangs out at the set of a porn-film in the French capital. She pens an article on the economy of lust. How come people cavort on camera so ecstatically? The cast and crew willingly answer her questions and she performs some of the moves as well, of course.
Gérard Kikoïne
Director
Brigitte Lahaie
La maquilleuse / Brigitte Lahaie
Alban Ceray
Le réalisateur / Alban Ceray
Pascale
Pascale, la journaliste
Richard Lemieuvre
Le perchman / Richard Lemieuvre
Cyril Val
Le cadreur / Alain Plumey
Agnès Lemercier
L'amoureuse
Hervé Amalou
Dominique Aveline
Maude Carolle
Patrice Chéron
Michèle d'Agro
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
Disney movies have taken a bit of a downward turn recently. How come?
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.