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The Good Stuff with Mary Berg - (Nov 30th)
TMZ Live - (Nov 30th)
The Last Socialist Artefact - (Nov 30th)
On Patrol- Live - (Nov 30th)
Belle Collective - (Nov 30th)
Diners, Drive-Ins and Dives - (Nov 30th)
The Last Woodsmen - (Nov 30th)
WWE SmackDown - (Nov 30th)
Scare Tactics - (Nov 30th)
Unreported World - (Nov 30th)
The ReidOut with Joy Reid - (Nov 30th)
Im a Celebrity... Unpacked - (Nov 30th)
Gold Rush - (Nov 30th)
Deadline- White House - (Nov 29th)
The Beat with Ari Melber - (Nov 29th)
Cops - (Nov 29th)
The Last Leg - (Nov 29th)
Have I Got News for You - (Nov 29th)
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**Despite Swinton's powerful performance, Luca Guadagnino proved it a mistake to put narrative at the service of technique.** What is the origin and focal point of cinematographic art? It's a question that seems rhetorical, but which, for me, is fundamental to understanding the problems of this film. Why? Because for me, the essential point of cinema, what is most important, is to tell a story. This means that aesthetics, style and art must serve the narrative, not the other way around. And what this film does is, precisely, use a narrative for an exercise in aesthetics and style. The script had everything to work, with a dramatic story that, despite not bringing anything new (there are lots of movies about adulteries, mature women dissatisfied with their lives, rich families that work badly, etc.), at least had everything that it needed to entertain us. Basically, it's the story of a Russian woman who married an Italian textile tycoon and had three children. She is not necessarily unhappy, but lives a monotonous existence, at the whim of social and family conveniences, so she ends up finding excitement and pleasure in a torrid affair with a friend of one of her sons. And of course, when all this comes to light, the family's life is shaken. The film has its value for the narrative and the script, even considering that there is a lot of cliché and predictable melodrama. But director Luca Guadagnino doesn't seem to give relevance to the story he wants to tell. He is not interested in entertaining us with a film that blends art and entertainment harmoniously. Guadagnino just wants to show off and show everything he has learned about cinema, all the technique, the mastery of cinematography, the use of the soundtrack, sound and image. This film is simply a vain exercise in technique and style. Tilda Swinton cleverly took the opportunity to, in open collaboration with the director, build for herself a character tailored to what she needs and knows how to do. It was a work that took several years, but it leveraged the project to its happy conclusion. And we have to admit that Swinton is wonderful and gives us a deep and powerful interpretation of the main character. Unfortunately, she is the only actress who stands out in this film on a positive note. The rest of the cast, mostly Italian, is quite average, with empty and disinterested interpretations, and there are really annoying and tiresome characters. As I said above, it is in the technical aspects that Guadagnino really bets, and tries his best to stand out, and we have to admit that he knows how to use cinematography and film work very well. The film makes good use of the filming locations used in Milan and elsewhere in Italy, and manages to convey the pleasure of eating a good meal. In fact, it even conveys the pleasure of gluttony more easily than the pleasure of sex, because all sex scenes, however intense, are manifestly artificial and exaggerated. The feeling that everything is over the top becomes even more latent due to a very slow pace, which makes us numb, and due to the intrusion of an irritating histrionic soundtrack.
When 17-year-old Effi Briest marries the elderly Baron von Instetten, she moves to a small, isolated Baltic town and a house that she fears is haunted. Starved for companionship, Effi begins a friendship with Major Crampas, a charismatic womanizer.
Diego is a gay but closeted Hispanic chef living in East Los Angeles who works in the restaurant operated by his grandmother. Frustrated by the secretive lifestyle he shares with his similarly closeted lover, Pablo, Diego finds himself attracted to Wesley, one of the openly gay Caucasian men he feels are gentrifying his neighborhood. Their relationship pushes Diego to consider the possibility of a life he had never imagined.
The circularity of violence seen in a story that circles on itself. In Macedonia, during the war in Bosnia, Christians hunt an ethnic Albanian girl who may have murdered one of their own. A young monk who's taken a vow of silence offers her protection. In London, a photographic editor who's pregnant needs to talk it out with her estranged husband and chooses a toney restaurant.
Raised in a single parent family by his mother Nate Merritt, develops a friendship with a gay man whilst on leave from the US marines.
Solomon and Tummler are two teenagers killing time in Xenia, Ohio, a small town that has never recovered from the tornado that ravaged the community in the 1970s.
In 1951, a young Vietnamese girl arrives at a Saigon household as their new servant.
Long-term couple Simon and Jason, along with daddy-ish Cooper and his boy du jour, escape to a mountain cabin for a three-day weekend away from their hectic city lives. Looking to spice up this long-standing tradition, they add a special twist to this years retreat - each of them must invite one attractive single friend to their mountain getaway.
After being rejected by her favorite customer, a cashier must reconcile her feelings when the customer continues to visit the ramen shop.
A peculiar neighbor offers hope to a recent widow who is struggling to raise a teenager who is unpredictable and, sometimes, violent.
Not long after they cross paths at an art gallery, architect Ray Reardon and hypnotically sensual Lena are married with children. But as strange incidents occur, Ray begins to realize he may not really know the woman he married.
Primo and Secondo, two immigrant brothers, pin their hopes on a banquet honoring Louis Prima to save their struggling restaurant.