Yeah the problem is that I read somewhere Leigh put the (other) antagonist in the movie to make a contrast with Thewlis' character which is confusing since they are essentially both sadists and rapists. It sort of hinted in the direction that maybe the main character isn't "as bad" as the other guy, is somehow worth saving (but refuses to), maybe based on a rather different concept of consent from 30 years ago. Maybe...

But anyway. I will be revisiting some of his other films of the era. I think he peaked with All or nothing but I liked Another year also.

Watched this movie Lord of Tears aka the Owlman and it wasn't very good

https://i.postimg.cc/d3tpJf8q/MV5-BZ...U1-Nj-I-V1.jpg

Look at that dumbass

I'd put the emphases differently: the other guy is the very embodiment of the spirit of Thatcherism with its nihilism and cruelty, Johnny is one of those who are left out by Thatcherism, one of society's "superfluous men". And yet, in his own way Johnny is as violent, callous and apathetic as the successful capitalist: he doesn't get to be "outside" or "above" the drives and impulses a given society inculcates in men just because he doesn't fit in.

Given that the opening scene of the film is a literal rape, I don't see how the line between consent and non-consent is in any way blurred.

https://upload.wikimedia.org/wikiped...onieposter.jpg

La Cérémonie - Claude Chabrol (1995)

I think this is the first movie I've seen by Chabrol. Quite impressed. Nothing particularly original but masterful all the same. Loved the pacing and slow and subtle build-up of tension. Great performances by Huppert and especially Bonnaire who is perfectly detached and inscrutable. I'm interested in seeing what else she's done. Maybe a few more by Chabrol as well although he seems to have been very focused on crime/thrillers.

https://cdn-2.cinemaparadiso.co.uk/2206100240241_l.jpg

Benediction - Terrence Davies (2021)

I've only ever seen 2 movies by Davies, Distant Voices, Still Lives and The Long Day Closes, many moons ago, and I found them both very memorable and unique. Both of them were based on Davies' personal experiences so I haven't seen him tackle anyone else's material. I was a little disappointed with this one. I expected something more original, and there are some visual touches here and there that reminded me of his early movies, but the rest is quite standard. I liked Sassoon's poetry, which seemed accessible yet powerful. But I wasn't very sold on the performances (I usually have a problem believing straight actors portraying gay characters), and much of the movie was dedicated to bitchy exchanges with rather nasty characters which doesn't make for very enjoyable drama (although it could explain somewhat Sassoon's later transformation into a bitter old man). Makes me want to revisit Distant voices though.

https://pics.filmaffinity.com/Azor-245943513-large.jpg

Azor - Andreas Fontana (2021)

Debut film from a Swiss director, it's set during Argentina's dictatorship and deals with the involvement of swiss private bankers in the chaos of the times. Intriguingly mysterious and languid with beautiful cinematography and good performances, but also a little boring because it mostly deals with finances.

"Uhhh ok"

Yep. Here's one man's perspective:


https://www.youtube.com/watch?v=hviUOCHKVVw

The King of what? lol

Growing up and seeing all the greased up guys and the bee-hive wearing ladies hyping him up was a bit puzzling to me, and even more so when my parents would go to someones place and they'd have the velvet Elvis's on the walls and thats all they played the entire visit. Wtf do these people see in this guy? Ray's sensibility hits home.

Don't forget Bill Black too. Sun Sessions Elvis is the only Elvis I like. Otherwise, I'm not a fan - except for "Suspicious Minds".

Big Anklepants vibes

Dwight's cover appeals to my tastes more than the original:


https://www.youtube.com/watch?v=01fy0UtBTW4

I do have a mental block from being force fed Elvis at a young age though, so there's that.