“Sweeney Todd”: Demons and Hair Cuts
As a musical fan, I enjoyed the film and encourage anyone who likes dark humour and a bit of blood to give it a watch.
T,O,U,C,H,I,N,G (1969)
T,O,U,C,H,I,N,G uses flickering frames of solid color juxtaposed with positive and negative still images of a man—sometimes cutting off his own tongue with glitter-covered scissors, sometimes suffering a series of glitter-stained fingernail scratches across the face. Other rapidly alternating still images of eye surgery and a couple in the midst of intercourse. The soundtrack is a continuous looped recording of the word "destroy" over the entire length of the film.
- / 5
PopScore
Representation
Pictures and Videos
Movie Information
T,O,U,C,H,I,N,G uses flickering frames of solid color juxtaposed with positive and negative still images of a man—sometimes cutting off his own tongue with glitter-covered scissors, sometimes suffering a series of glitter-stained fingernail scratches across the face. Other rapidly alternating still images of eye surgery and a couple in the midst of intercourse. The soundtrack is a continuous looped recording of the word "destroy" over the entire length of the film.
Rating:
Genre:Drama
Written By:
In Theaters:6/17/1969
Box Office:
Runtime:12 minutes
Studio:
Cast
Articles You May Like
The precarious representations in One Battle After Another
A bumpy journey about revolution and family makes us feel fear, disgust, humor, and satisfaction.
Daphne - The Diamond of Netflix's "Bridgerton"
Michelle Payne Learns How to 'Ride Like a Girl'
Horse racing is a very difficult sport and challenge, especially for a young woman like Michelle Payne.
Free Guy's Marxist Parallels To John Carpenter's They Live
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
“It Ends” When You Learn to Let People Go
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.