Fuck Like No One’s Watching: Reijn Delivers Prudent & Provocative Sexual Odyssey
“There is to my mind no doubt that the concept of beautiful had its roots in sexual excitation and that its original meaning was sexually stimulating,” wrote Sigmund Freud in his 1905 publication Three Essays on the Theory of Sexuality. In the century since Freud’s various hypotheses on sexuality were written, and eventually overshadowed by a progressive and enlightened collective understanding of how sexuality functions, cinema, particularly American cinema, has remained suffocated by rigid and archaic ideas regarding sexuality and morality. Partially, this is due to the historically patriarchal gatekeeping which repressed women and the LGBTQ+ community.… Read the rest
Nothing is what it appears to be in Argentinean Luis Ortega’s latest film Kill the Jockey, a crime comedy drama which becomes an increasingly complex exercise regarding identity. The film itself suffers from the same semblance of identity crisis as some of its characters, which is akin to Ortega’s last film, El Angel (2018), about a cherub-faced criminal whose misdeeds initially seem all the more shocking because of his demeanor. 
After exploring themes of rebirth and reincarnation in her 2019 Bosnian war feature debut, Heroes Don’t Die (read 
There’s no way to reproduce the imaginative awe of Tim Burton’s 1988 idiosyncratic goth YA classic Beetlejuice. Or, for that matter, any of Burton’s exceptionally weird but trailblazing offerings through the 1980s and 1990s, including his first two Batman films, Edward Scissorhands (1990) and Ed Wood (1994). He lionized Michael Keaton and gave us Winona Ryder as the Gen-X pin-up girl who made brooding cynicism a living, breathing sensibility, the likes of which would only be equaled in animated form by Daria. But he’s an iconoclast whose favored themes and tactics suffered mightily when CGI poisoned his tangible alchemies, and his counter culture worldview eventually became rote.… 
