begrudgingly genre aware
24 | they/she | 🇰🇷🇨🇦
Joined July 2019
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imagine thinking nathan fielder seriously believes amanda seyfried needs to be held accountable for acting when the next season of the rehearsal is probably gonna feature him hiring 5 actors to play everyone in the documentary
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Elizabeth Holmes NEVER ONCE being seen in handcuffs in that documentary deserves a thesis level analysis. Being able to delay her incarceration because of multiple pregnancies, being able to NEGOTIATE her surrender, and being escorted to the facility from the gate is about as abnormal as it gets.
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Someone should make a Korean film critiquing the ability of an expensive artform co-opted by the wealthy to make material or spiritual change… joysauce.com/possible-love-i…
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for modern options?
- "I think this might just be my masterpiece."
- "I'm finished."
- "Baby, you are gonna miss that plane."
"I know."
- "And in case I don't see you: good afternoon, good evening, and good night!"
What’s the greatest final line in movie history? The last spoken line before the credits, not the dialogue that follows.
THE SILENCE OF THE LAMBS has “I’m having an old friend for dinner,” CASABLANCA has “I think this is the beginning of a beautiful friendship,” but what modern movie has a final line that belongs in that conversation?
Drop your picks. 🎬
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A 4K restoration of Alfonso Cuarón’s ‘Y TU MAMÁ TAMBIÉN’ will be released next summer in honor of the film’s 25th anniversary.
(deadline.com/2026/10/y-tu-ma…)
okay similarly it did kind of crack me up that billy was going on and on about how elizabeth holmes would be remembered the most for their relationships and the "monuments of their love" and not her famous lying bc going into ycse i was Unaware that she had a partner
obviously you can see everything is undeniably gonna be in conversation with both primetime and the history of concrete (for obvious reasons) but i think it actually has a really interesting dialogue with possible love
yEAHHHHHHHHHHHHHHH
Netflix is giving “La Bola Negra” a 47-day theatrical release (starting Oct. 16), marking an unprecedented show of confidence ahead of this year’s Oscars season:
“We made this movie for the screen,” says co-director Javier Ambrossi. “We shot it in 35mm. So that was good news, that people can experience the movie as we thought they would. But Netflix, you can rewatch — you can see all of Penélope Cruz’s numbers again and again.”
Read the full cover story: wp.me/pc8uak-1lHWzz
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Me parece fascinante que dos de las mejores escenas del año sean esencialmente iguales pero una esté protagonizada por Tom Cruise y la otra por el Gallo Claudio.
