Nothing Can Turn Into A Void – An Art Apart: People Like Us from Vicki WFMU on Vimeo.
The film captures Smith wearing dresses and makeup, playing with dolls, and smoking marijuana. Paul Arthur writes that the film contains "dizzying quasi-autobiographical rants" which spin on sadism, and that like Jacobs' Little Stabs at Happiness, it contains "languid improvisations studded with the bare bones of narrative incident or, more accurately, its collapse". The film contains Smith droning and singing and wildly cooing and cackling in parts of the film. The "lonely little boy" episode about a little boy living in a large house with 10 rooms has been cited as being "potentially repugnant to many viewers" because of its exploration of sadism against children and childhood sexuality. In this episode the narrator confesses to have "blown up the penis" of a 7-year-old boy with a match. The film contains numerous other elements which were shocking at the time of release such as references to necrophilia, the use of the word "cunt", the confession of a nun (impersonated in a posh high-pitched voice by Smith) to lesbianism, the holding of a giant would-be dildo, and a portrayal of transvestites. The film features quotes such as "Why shave when I can't think of a reason for living" and "life is a sad business", quoting Greta Garbo. "Let's Call the Whole Thing Off" is then played, described as a "burlesque rendering" of Robert Siodmak's 1944 film Cobra Woman. The last scene captures Smith stabbing a man in the chest. Hilary Radner and Moya Luckett consider the film to be a camp portrayal of Rose Hobart.
This movie will change your life.
They Live is definitely one of the forgotten masterpieces of the Hollywood Left. … The sunglasses function like a critique of ideology. They allow you to see the real message beneath all the propaganda, glitz, posters and so on. … When you put the sunglasses on, you see the dictatorship in democracy, the invisible order which sustains your apparent freedom.
The film was released on 24 December 1981 to widespread critical acclaim, with particular praise given to Gibson's performance, the musical score, cinematography, action sequences, costume design and sparing use of dialogue. It was also a box office success, and the film's post-apocalyptic and punk aesthetics helped popularise the genre in film and fiction writing. At the 10th Saturn Awards, the film won Best International Film and was nominated for five more awards: Best Director, Best Actor for Gibson, Best Supporting Actor for Bruce Spence, Best Writing, and Best Costumes for Norma Moriceau. Mad Max 2 is widely hailed as both one of the greatest action movies of all time and one of the greatest sequels ever made, and fan clubs for the film and "road warrior"-themed activities continue into the 21st century.
Preceded by Mad Max in 1979, the film was followed by Mad Max Beyond Thunderdome in 1985 and Mad Max: Fury Road in 2015.
Having gained experience creating television commercials, industrial films, and Mister Rogers' Neighborhood segments at their production company The Latent Image, Romero, Russo, and Streiner decided to make a feature film. They elected to make a horror film to capitalize on interest in the genre. Their script drew from Richard Matheson's 1954 novel I Am Legend. Principal photography took place between July 1967 and January 1968, mainly on location in Evans City, Pennsylvania. Romero used guerrilla filmmaking techniques he had honed in his commercial and industrial work to complete the film on a budget of approximately US$100,000. Without the budget for a proper set, they rented a condemned farmhouse to destroy during the course of filming.
Night of the Living Dead premiered in Pittsburgh on October 1, 1968. It grossed US$12 million domestically and US$18 million internationally, earning more than 250 times its budget and making it one of the most profitable film productions ever made at the time. Released shortly before the adoption of the Motion Picture Association of America rating system, the film's explicit violence and gore were considered groundbreaking, leading to controversy and negative reviews. It eventually garnered a cult following and critical acclaim and has appeared on lists of the greatest and most influential films by such outlets as Empire, The New York Times, and Total Film. Frequently identified as a touchstone in the development of the horror genre, retrospective scholarly analysis has focused on its reflection of the social and cultural changes in the United States during the 1960s, with particular attention towards the casting of Jones, an African-American, in the leading role. In 1999, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.
Night of the Living Dead created a successful franchise that includes five sequels released between 1978 and 2009, all directed by Romero. Due to an error when titling the original film, it entered the public domain upon release,[9] resulting in numerous adaptations, remakes, and a lasting legacy in the horror genre. An official remake, written by Romero and directed by Tom Savini, was released in 1990.
The film has no commentary and consists of documentation of the ongoing party culture in Goa, as well as private and previously unreleased Super 8 footage from the 1960s and 1970s in Goa, filmed by Cleo Odzer. This material is the only existing contemporary film document of the hippie era in Goa. Furthermore, interviews with hippie veterans like Goa Gil, locals, and the former chief minister of Goa, Francisco Sardinha, describe the clashes that occur between the party culture and Indian conservatism. The last part of the documentary is shot at the Berlin Love Parade, where the protagonists reflect on their own spiritual development and the changes that have occurred since the hippie movement's advent.
