#promising young woman

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eyres:The Great Gatsby (2013) dir. Baz Luhrmann | Promising Young Woman (2020) dir. Emerald Fennelleyres:The Great Gatsby (2013) dir. Baz Luhrmann | Promising Young Woman (2020) dir. Emerald Fennelleyres:The Great Gatsby (2013) dir. Baz Luhrmann | Promising Young Woman (2020) dir. Emerald Fennelleyres:The Great Gatsby (2013) dir. Baz Luhrmann | Promising Young Woman (2020) dir. Emerald Fennell

eyres:

The Great Gatsby (2013) dir. Baz Luhrmann | Promising Young Woman (2020) dir. Emerald Fennell


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hers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emerhers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emerhers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emerhers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emerhers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emerhers: You should be the one with her name all over you.Promising Young Woman (2020) directed by Emer

hers:

You should be the one with her name all over you.

Promising Young Woman (2020) directed by Emerald Fennell


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in-love-with-movies:

Promising Young Woman (UK - USA, 2020)

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Girl, Interrupted

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Promising Young Woman is a film that absolutely demands your attention. Exploring the often ignored impact that date rape culture has on its victims, it delivers its message with bracing style, striking imagery and deliciously dark humour. A fantastic showcase for both star Carey Mulligan and first-time director Emerald Fennell, it is destined to linger in your memory long after the final credits.

Based on an original idea from Fennel (who you probably know best for playing Camilla in The Crown), the plot is based on an interesting role reversal. What if, it asks, instead of being the hunted prey of men, women became the hunters? Our protagonist Cassie (Carey Mulligan) is a woman on a mission. A surly 30-year-old who still lives with her parents and works at a coffee shop, Cassie plays the role of vulnerable drunk woman at night, stalking nightclubs to expose ‘nice guys’ who try to take advantage of her.

These encounters are as uncomfortable as they are darkly funny. Cassie takes clear delight in toying with her unsuspecting targets, and actors like Adam Brody and Christopher Mintz-Plasse play the role of victims to a tee, from sleazy opportunists to scared shitless. Pulpy and colourful, these sequences are shot with the eeriness of a horror, and the moral uncertainty of Taxi Driver. Benjamin Kracun’s arresting cinematography conjures plenty of memorable images, framing Cassie as the unlikely hero of the story.

As we later find out, this one woman vendetta is a lot more personal than a frivolous pastime. We don’t immediately know about the demons that Cassie is wrestling with, but Fennell leaves enough clues to piece things together. Like BBC’s I May Destroy You, the film approaches a traumatising incident involving Cassie’s friend with subtlety and sensitivity, while illustrating the impact it has had on her social life and career prospects. Fennell takes aim at the cowardly men taking advantage, but also a flawed system that makes victim blaming possible.

This is the role of a lifetime, and Mulligan grabs the opportunity with both hands. Spitting in coffee, creepily winking to the camera, and using sinister ploys to rip her victims to pieces, this is the actress as you’ve never seen her before. It is a joy to watch as Mulligan switches her persona for different circumstances, from a fake-friendly ex class mate (Alison Brie), to a dismissive school Dean (Connie Britton). Mulligan also convinces as someone so consumed by vengeance that they have no time for their own happiness. When Cassie strikes up a hopeful romance with a genuinely good guy (Bo Burnham is goofily likeable), it feels like something out of a fantasy movie, complete with a joyous singalong montage in a neon convenience store.

In her first film as director, Fennell proves a master of playing with expectations. Like the main character to her victims, the plot lures you into a false sense of security of where it will go, before confronting you with a stressful and scary reality. Vibrant and bold in its execution, it explores an important issue with the urgency and attention that it deserves. 

Tackling a serious topic with style, humour and rage, Promising Young Woman is a knockout of a movie, with a powerhouse performance from Mulligan.

★★★★★

popanalysis99:

(TW: Graphic Imagery, Sexual Assault, Rape)

Hell hath no fury like the angry woman scorned.

Despite having a bad history back then, Angry Women have the right reasons to be mad about and we often root for them to right the wrongs that they’ve been given their whole life. Our whole life girls have been taught how to repress our feelings, but today we are able to express our emotions however we want whenever we want. So let’s take a good look at the Angry Women and how they are a force for change:

History of the Female Rage

Back then, there would be representations of female rage through art. Eg. Elisabetta Sirani’s Timoclea killing her rapist and the famous Artemisia Gentileschi’s Judith slaying Holfernes. 

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The author Virginia Woolf was also the popular embodiment of refined rage, especially for proper ladies who are taught to be docile. In A Room of One’s Own, Woolf showcases the anger in other women’s writing and even depicts her own anger through that history. She sees that anger as a reaction to women’s life as a second class citizen, especially in the works of Charlotte Bronte, a writer so angry, so much so that she wrote the madwoman in the attic and burned down the house.

Woolf’s anger had even found a new form in the mid-twentieth century, especially during the 60s-70s. The angry women have brought in the second-wave feminism and it gave birth to the angry feminist, believing it would help take down the patriarchal society. 

But the issue with the Angry Women is that most of us aren’t taken seriously when we get mad. Most of them see our anger as something when we “overreact” or become a “bitch” towards other people. But when a man showcases their anger over something, people root for them. This was seen in a lot of Angry Men media such as Taxi Driver,Fight Club, Breaking Bad andJoker. But the problem is that most of these examples had depicted toxic white masculinity through the eyes of an angry white male.


How the female/feminine anger is portrayed in the media

Lately, there have been a lot pf portrayal of feminine anger in the pop culture, whether they were treated as a joke, scary or used for good.

It’s even shown through the “femme fatale” trope where most of the times, the woman wouldn’t take it well when a man cheats on his wife/girlfriend with her and then dump her away as he moves on with the former. This was also prominent in the film Fatal Attraction starring Glen Close as Alex Forrest. 

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When Dan (played by Michael Douglas) has a one-night stand with Alex, he then tries to ignore her or treat her as a friend. Alex doesn’t take this treatment well, like she says to Dan “I am not gonna be ignored, Dan.” while Alex’s rage is shown to be a bit sympathetic over being treated like a doll and Dan brought this on himself because despite being married and having a daughter, sleeps with Alex, her rage is treated as an obsessive “yandere-like”. Most of the audiences hated Alex so much so they panned the sympathetic ending where Alex committed suicide to punish Dan and instead, were given the one where she attack’s Dan’s wife and ultimately gets killed by her, ending her reign of terror once and for all.

In the late 90s, there were a rise of more sympathetic angry females speaking their own minds. With first being Kat Stratford from 10 Things I Hate About You.

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She was shown to be a strong feminist who had an extreme disdain towards men who get away with being “assholes” and being forced into gender norms. Kat was shown to be that kind of female character who was shown to be ahead of her time. She had a lot of feminist values and did not want to conform to any man’s demands. But like in the source of the play The Taming of the Shrew, Kat becomes more toned down and a bit feminine when she falls in love with the bad boy Patrick Verona and gets together with him.

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Allie Pressman from The Society represents the ambiguous rage. She has a lot of reasons to be angry and cynical at the world. First she lives in her sister Cassandra’s shadow, then gets transported to the replica of her town, then her sister gets killed and she gets put into the leadership position. She basically the female version of the male anti-heroic power player that we usually see in the past. She can be vindinctive, toxic at times and full of rage burning inside of her. Her toxic rage even depicts that there might be a time when she would snap. While she does whatever she can to control the town into peace and tries to use her anger for good, at time she lets her unbearable rage blind her into making bad decisions, to the point most of the supporting characters need to calm her down and give her suggestions.

There are even examples of the rage being used for good in taking down a patriarchal society that has for long abused and mistreated women. Especially in “rape-and-revenge” flicks,


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For example in Gone Girl, Amy Dunne has showcased rage which is understandable but not admirable. Amy becomes angry at the patriarchal society who forces women to fit into their desires. Just like how she says in the “Cool Girl” speech, she had to fill in that role so that she could become desirable to Nick. But when she decides she has had enough and becomes less like a “Cool Girl”, Nick immediately gets bored of her and cheats on her with a much younger woman, which spurs Amy’s anger to the point she begins faking her murder and framing her husband for it.


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Thana in Ms 45 gets raped twice in one day, which spurs a vengefulness against abusive and rapist men around her. She gives herself a makeover with dark clothes and dark red lipstick and begins gunning down abusive and rapist men around her. But she ends up misusing her rage as she ends up killing random men as well, who didn’t even have anything to do with the sexual assault Thana faced.

Cassie from Promising Young Woman, after losing her best friend to sexual assault and suicide, won’t accept how people treat violence against women as a norm and takes it upon herself to change the system and bring justice for her friend. Be it taking down possible “nice guy” predators or taking down her friend’s rapist by exposing him posthomously. 

There is also a male variant of the “Angry Woman taking down men” trope, through Elliot Alderson from Mr. Robot. While most of the other female characters like Darlene Alderson and Dom Dipierro end up being docile and passive later in the series, Elliot takes on the “femme fatale vigilante rage” towards the patriarchal society that we feel. When we first meet him, he is shown to be taking down men who are abusers, pedophiles and cheaters etc. He is treated like a female character throughout the series, like constantly attracting Male Gaze from men and hating them. Like the female protagonists of the “rape-and-revenge” movies, he later finds out that he was molested as a child by a male figure, his father. But he doesn’t use violence to take down men and slowly softens up as he realises that finding inner peace in himself through love is the only way to achieve his goals.

Conclusion

These days, female rage has become a more prominent in society these days as more and more women are being taught to use their anger for good and channel it for change. Especially in the wake of the #MeToo movement and BLM protests, more women are stepping up to change the system. So the lesson here is that we are no longer asked to repress our feelings and we have the right to be mad.

Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin KracunPromising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin KracunPromising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin KracunPromising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun“Nina was extraordinary. So smaPromising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun“Nina was extraordinary. So sma

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun

“Nina was extraordinary. So smart. Weirdly smart. She was so completely herself. Even when she was four years old. She was fully formed from day one. Same face, same walk. And funny. Like a grown up is funny, kind of shrewd. I was just in awe of her. I couldn’t believe she wanted to be my friend. She didn’t give a fuck what anyone thought apart from me, because she was just… Nina”


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Promising Young Woman (2020)dir. Emerald Fennell / DP Benjamin KracunPromising Young Woman (2020)dir. Emerald Fennell / DP Benjamin Kracun

Promising Young Woman (2020)

dir. Emerald Fennell / DP Benjamin Kracun


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Promising Young Woman (2020) dir. Emerald Fennell

Happy International Women’s Day as characterized by strong female characters from movies I watched during quarantine.

to all the boys: always and forever (2021)

excuse me, i love you (2020)

promising young woman (2020)

a quiet place (2018)

the gift (2015)

the devil wears prada (2006)

93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca93rd Academy Awards NomineesBEST PICTUREThe Father – David Parfitt, Jean-Louis Livi, and Philippe Ca

93rd Academy Awards Nominees

BEST PICTURE

  • The Father – David Parfitt, Jean-Louis Livi, and Philippe Carcassonne
  • Judas and the Black Messiah – Shaka King, Charles D. King, and Ryan Coogler
  • Mank – Ceán Chaffin, Eric Roth, and Douglas Urbanski
  • Minari – Christina Oh
  • Nomadland – Frances McDormand, Peter Spears, Mollye Asher, Dan Javey, and Chloé Zhao
  • Promising Young Woman – Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara
  • Sound of Metal – Bert Hamelinick and Sacha Ben Harroche
  • The Trial of the Chicago 7 – Marc Platt and Stuart Besser

BEST DIRECTOR

  • Lee Isaac Chung – Minari
  • Emerald Fennell – Promising Young Woman
  • David Fincher – Mank
  • Thomas Vinterberg – Another Round
  • Chloé Zhao – Nomadland

BEST ACTOR

  • Riz Ahmed – Sound of Metal as Ruben Stone
  • Chadwick Boseman (posthumous nominee) – Ma Rainey’s Black Bottom as Levee Green
  • Anthony Hopkins – The Father as Anthony
  • Gary Oldman – Mank as Herman J. Mankiewicz
  • Steven Yeun – Minari as Jacob Yi

BEST ACTRESS

  • Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey
  • Andra Day – The United States vs. Billie Holiday as Billie Holiday
  • Vanessa Kirby – Pieces of a Woman as Martha Weiss
  • Frances McDormand – Nomadland as Fern
  • Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas

BEST SUPPORTING ACTOR

  • Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman
  • Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton
  • Leslie Odom Jr. – One Night in Miami… as Sam Cooke
  • Paul Raci – Sound of Metal as Joe
  • Lakeith Stanfield – Judas and the Black Messiah as William “Bill” O'Neal

BEST SUPPORTING ACTRESS

  • Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan as Tutar Sagdiyev
  • Glenn Close – Hillbilly Elegy as Bonnie “Mamaw” Vance
  • Olivia Colman – The Father as Anne
  • Amanda Seyfried – Mank as Marion Davies
  • Youn Yuh-jung – Minari as Soon-ja

BEST ORIGINAL SCREENPLAY

  • Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Will Berson, Shaka King, Keith Lucas, and Kenny Lucas
  • Minari – Lee Isaac Chung
  • Promising Young Woman – Emerald Fennell
  • Sound of Metal – Screenplay by Darius Marder and Abraham Marder; Story by Darius Marder and Derek Cianfrance
  • The Trial of the Chicago 7 – Aaron Sorkin

BEST ADAPTED SCREENPLAY

  • Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, and Lee Kern; Story by Baron Cohen, Hines, Swimer, and Nina Pedrad; Based on the character Borat Sagdiyev by Baron Cohen
  • The Father – Christopher Hampton & Florian Zeller, based on the play by Zeller
  • Nomadland – Chloé Zhao, based on the book by Jessica Bruder
  • One Night in Miami… – Kemp Powers, based on his play
  • The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga

BEST INTERNATIONAL FEATURE FILM

  • Another Round (Denmark) in Danish – directed by Thomas Vinterberg
  • Better Days (Hong Kong) in Mandarin – directed by Derek Tsang
  • Collective (Romania) in Romanian – directed by Alexander Nanau
  • The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania
  • Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić

BEST ANIMATED FEATURE FILM

  • Onward – Dan Scanlon and Kori Rae
  • Over the Moon – Glen Keane, Gennie Rin, and Peilin Chou
  • A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher, and Paul Kewley
  • Soul – Pete Docter and Dana Murray
  • Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants

BEST DOCUMENTARY FEATURE

  • Collective – Alexander Nanau and Bianca Oana
  • Crip Camp – Nicole Newnham, Jim LeBrecht and Sara Bolder
  • The Mole Agent – Maite Alberdi and Marcela Santibáñez
  • My Octopus Teacher – Pippa Ehrlich, James Reed, and Craig Foster
  • Time – Garrett Bradley, Lauren Domino, and Kellen Quinn

BEST CINEMATOGRAPHY

  • Judas and the Black Messiah – Sean Bobbitt
  • Mank – Erik Messerschmidt
  • News of the World – Dariusz Wolski
  • Nomadland – Joshua James Richards
  • The Trial of the Chicago 7 – Phedon Papamichael

BEST FILM EDITING

  • The Father – Yorgos Lamprinos
  • Nomadland – Chloé Zhao
  • Promising Young Woman – Frédéric Thoraval
  • Sound of Metal – Mikkel E.G. Nielsen
  • The Trial of the Chicago 7 – Alan Baumgarten

BEST PRODUCTION DESIGN

  • The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone
  • Ma Rainey’s Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Sroughton
  • Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
  • News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan
  • Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

BEST COSTUME DESIGN

  • Emma – Alexandra Byrne
  • Ma Rainey’s Black Bottom – Ann Roth
  • Mank – Trish Summerville
  • Mulan – Bina Daigeler
  • Pinocchio – Massimo Cantini Parrini

BEST MAKEUP AND HAIRSTYLING

  • Emma – Marese Langan, Laura Allen, and Claudia Stolze
  • Hillbilly Elegy – Eryn Krueger Mekash, Patricia Dehaney, and Matthew Mungle
  • Ma Rainey’s Black Bottom – Matiki Anoff, Mia Neal, and Larry M. Cherry
  • Mank – Kimberley Spiteri, Gigi Williams
  • Pinocchio – Dalia Colli, Mark Coulier, and Francesco Pegoretti

BEST VISUAL EFFECTS

  • Love and Monsters – Matt Sloan, Genevieve Camailleri, Matt Everitt, and Brian Cox
  • The Midnight Sky – Matthew Kasmir, Christopher Lawren, Max Solomon, and David Watkins
  • Mulan – Sean Faden, Anders Langlands, Seth Maury, and Steven Ingram
  • The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones, and Santiago Colomo Martinez
  • Tenet – Andrew Jackson, David Lee, Andrew Lockley and

BEST ORIGINAL SCORE

  • Da 5 Bloods – Terence Blanchard
  • Mank – Trent Reznor and Atticus Ross
  • Minari – Emile Mosseri
  • News of the World – James Newton Howard
  • Soul – Trent Reznor, Atticus Ross, and Jon Batiste

BEST ORIGINAL SONG

  • “Fight for You” from Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
  • “Hear My Voice” from The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
  • “Husavik” from Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus, and Rickard Göransson
  • “Io Sì (Seen)” from The Life Ahead – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
  • “Speak Now” from One Night in Miami… – Music and Lyric by Leslie Odom Jr. and Sam Ashworth

BEST SOUND

  • Greyhound – Warren Shaw, Michael Minkler, Beau Borders, and David Wyman
  • Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance, and Drew Kunin
  • News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett
  • Soul – Ren Klyce, Coya Elliot, and David Parker
  • Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes, and Philip Bladh

BEST LIVE ACTION SHORT FILM

  • Feeling Through – Doug Roland and Susan Ruzenski
  • The Letter Room – Elvira Lind and Sofia Sondervan
  • The Present – Farah Nabulsi
  • Two Distant Strangers – Travon Free and Martin Desmond Roe
  • White Eye – Tomer Shushan and Shira Hochman

BEST ANIMATED SHORT FILM

  • Burrow – Madeline Sharafian and Michael Capbarat
  • Genius Loci – Adrien Mérigeau and Amaury Ovise
  • If Anything Happens I Love You – Will McCormack and Michael Govier
  • Opera – Eric Oh
  • Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson

BEST DOCUMENTARY SHORT SUBJECT

  • Colette – Anthony Giacchino and Alice Doyard
  • A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers
  • Do Not Split – Anders Hammer and Charlotte Cook
  • Hunger Ward – Skye Fitzgerald and Michael Shueuerman
  • A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan

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This week, we’re joined by Kat Spada from the @90210blaze​  podcast to talk about the incendiary revenge thriller Promising Young Woman! We cover the look of the film, its examination of “nice guys,” that shocking ending, and more.

Listen now!

My Favorite Films of 2020

even despite the pandemic, limited films being released, and having virtually no mutuals interacting with me on this app - I still wanted to keep this tradition going by listing my favorite films from this godforsaken year.

I really can’t recommend all of these enough. Support cinema as much as you can right now!

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