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This feature from filmmaker Magnus von Horn is a little hard to recommend—a historical drama about a serial killer of babies in gritty Copenhagen—but I found it both dark and beautiful and brave. The slow-burner tells the story of a factory worker, Karoline (Vic Carmen Sonne), who, believing her husband is dead or missing in action in World War I, has an ill-advised affair and finds herself pregnant and destitute. When she tries, horribly, to have an abortion, she is rescued and adopted by Dagmar (Trine Dyrholm), who specializes in finding adoptive parents for newborns. The second half of the film is uncompromising and horrifying without ever becoming gruesome, and the black-and-white cinematography is consistently gorgeous. It's a gothic monstrosity that ends with unexpected grace. A bleak, uncompromising wonder. —TA

The first half of Brady Corbet’s 215-minute The Brutalist follows the journey of Hungarian Jewish architect László Tóth (Adrien Brody), who, after being liberated from a concentration camp, heads to America to start a new life, eventually landing a commission from a mysterious real estate tycoon (Guy Pearce) to build a community center in rural Pennsylvania. At the same time, he works with his lawyers to secure the necessary immigration papers for his wife, Erzsébet (Felicity Jones), and niece Zsofia (Raffey Cassidy), to come with him—all the while struggling with a growing heroin addiction and a rising tide of anti-Semitism. At the Venice Film Festival, where The Brutalist premiered (and Corbet won the Silver Lion for best director), the shots that captured the sounds and textures of industrial America—the clang of steel beams, the roar of furnaces—made jaws drop. The scale of the film is enormous, the setting for the mausoleum-like architectural wonder at the center of its novel is astonishing, and all three lead performances are superb. The Brutalist isn't without its flaws, and it doesn't quite hit the mark—but it's a joy to see a filmmaker swing the bat and hit the ball home again and again. —Liam Hess


Pedro Almodóvar’s first English-language feature film stutters a bit at first. It has all the hallmarks of the Spanish master: lavish interiors splashed with vibrant colors; rich, wordy portrayals of multi-layered female characters; existential stakes woven into everyday life. But the dramatic notes, which shift to a near-animated version of the genre, make the opening a bit of a struggle. Give it a chance: When the flashbacks end and the plot settles, this is a beautiful and ultimately simple meditation on love, friendship, and death. The film stars Tilda Swinton and Julianne Moore as two friends who reunite years later as Swinton’s character battles cancer. Adapted from Sigrid Nunez’s What Are You Going Through, the film unfolds with grace and restraint. —Chloe Schama

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