Therealkathulu

Polanski. Immediate, awful taste in my mouth. Reminds me of everything bad and awful. Charles Manson. ****. Paedophilia. And yes, he is a paedophile. This is undeniable.Watching a work of art created by a criminal of a moral ranging from low to entirely unacceptable is always difficult and has to be done with a lot of caution, where it aligns with your morals and ethics. But on the other hand, so many artists of every kind have been outed having done reprehensible things, it becomes almost impossible to enjoy any creation if you do not wear the glasses of future past. We are trapped in the world of immorality, "wearing rose coloured glasses so that all the red flags look like flags."Cancel culture does not exist, and there isn't a single person in the world who doesn't get new chances. Polanski, just like many other paedophile rapists, continues to receive honors and job offers from above, despite the very many vocal protests from the **** incredible irony is that the film "Repulsion" is about a woman terrorized by men, some of whom have her in some sort of power (like the landlord.) And perhaps even more ironic are the reviews written by men, speaking of the "decent admirer whose honest love might be exactly what she needs." It brings into the question whether everything we are seeing are her hallucinations, but being a woman myself, I really cannot help but experience everything in this movie as reality in some way or another, including the doubt that it brings into whether or not this is real - as this is something that us women are awfully familiar with on a mass scale.Scrubbing all of that off of our brains, there is no denying that this film is highly influential. So many modern horror classics like "It Follows", "The Babadook" and "Hereditary" cite as having this film being one of the influences, where some influences are a lot more on the nose than others (rabbits and pigeons and wall hands, oh my.)

Never had I heard about Tanztheater or Pina Bausch before, and from the first minute of this film, I was glued to the screen. Everything, from the emotion through movement to the truly excellent soundtrack, I was transported into a new world I won't soon forget. Writer/director Wim Wenders had been following Bausch's work for years, and was convinced post her death to finish this work by the dancers in her company.With the haunting sounds of music like "Einmal ist keinmal" and the powerfully visceral, expressionist "Rite of Spring", and everything else woven into this avant-gardistic human tapestry, it's hard not to fall in love with Pina's movements brought to life by the dancers. Her art shown purely through freshly filmed choreography, with a smattering of archival footage to remind you that the origins are indeed of the past. This is dance as a series of short films, as I have never really seen before. The choice to keep the dancers mic'd works like the perfect bridge between film and reality, and the background settings and sets used deserve a special mention.Although the motifs are often gendered, there are gender-bending elements throughout, and while a lot of women are portrayed as helplessly falling down, caught and supported by men, some men too support each other. Especially the André number is particularly **** a true admirer of dance, however lacking in the practical skill myself, this was without a doubt an exciting experience for me, but I do believe that even if you have no clue about the art of dance, it will still be an evocative and gripping watch not to be missed.

With a genuine excitement about a movie hailed as a striking and engrossing experience, not least in the LGBTQIA+ genre, I was ultimately let down by the filmmaking itself. Even if the idea might have been fine, the two halves of the movie were difficult to reconcile. I also found the sound design and mixing to be on the lower end - you could barely hear the dialogue, and most of the sound was pretty much just crickets chirping. Of course, this adds to the overall ambiance of the jungle depicted so heavily in the movie but I missed an even slightly more crisp experience.However, the love story was refreshingly unproblematic and undramatic to me. Usually, we have to deal with quite a lot of intensity when watching an LGBTQIA+ work of art, but in this case, it went by mildly like a gentle spring breeze. You might say that the dramatic part of the story unfolds in the second, feverish part of the film, but it doesn't hit you over the head with a dark **** won the Jury Prize at Cannes Film Festival in 2004, but I doubt that this has withstood the test of time. The film doesn't require much from its audience, but it is choppy and uncomfortable at best.