愛は決して滅び去ることはない。
予言の賜物なら廃りもしよう　不思議な言葉ならば止みもしよう　知識ならば無用となりもしよう。
我々が知るのは一部分、また予言するのも一部分である故に完全なものが到来するときには部分的なものは廃れさる。
私は幼い子供であった時、幼い子供のように語り幼い子供のように考え、幼い子供のように思いを巡らした。
ただ、一人前の者になった時、幼い子供のことは止めにした。
我々が今見ているのは、ぼんやりと鏡に映っているもの。
その時に見るのは顔と顔を合わせてのもの。
私が今知っているのは一部分。
その時には自分が既に完全に知られているように、私は完全に知るようになる。
だから引き続き残るのは信仰、希望、愛、この三つ。
このうち最も優れているのは、愛。

Panty shots, erections and lesbianism, the holy trinity of Catholic guilt. The pervert, Saint Maria, and the cultist deviant find themselves in a deranged love triangle and launch themselves into an epic of religious dogma, perversion, savagery, sexual trauma, and societal taboos. Chock-filled with absurdist humor, jiu-jitsu combat and an incredible soundtrack, the nearly four-hour-long runtime seems to fly by in a flash, even leaving you longing for more.

My close friends know I've been an avid Car Seat Headrest fan for nearly a decade now. I'm stunned I even managed to make it so long without having seen this film until this point, it feels like I've been avoiding it for as long as I could especially because of my anticipation for it; and I'm endlessly thankful for the fact that my expectations have been reached and overachieved. As an ex-churchgoer who's spent a large chunk of her high school years religiously (pun intended) listening to Face to Face on repeat, this film was just about everything to me. Though never having been of devout Christian faith, I've spent a few years of my childhood frequently interacting with the churchgoer community in my neighborhood. During this time I was attending Bible studies, being abused at home, and first starting to explore things about my body that I'd never known before. As each Sunday passed I started realising that I, as young as I was, was a sinner—I was unfilial, impure, prideful, greedy, a liar. Is this why I was being punished, for acting out on my sinful desires day and night? I soon expressed my desire to stop coming back, as I didn't want to believe that all the beatings I'd gotten were justifiable in God's eyes.

The abuse didn't stop; it only pushed me to act out more, greater perversions growing within me, lustful thoughts filling my mind, trying to wash away the immobilizing reflections that would otherwise overwhelm me. My father was not physically present during this time; he was causing problems for our family from a different continent, thus leaving me with daddy issues on top of my already strained relationship with my mother. There were days in my youth where the only things I could think about were either suicide or sex. Having this depressive mindset deep ingrained into my brain, these thoughts stuck with me for years even after the physical abuse abated. Domestic abuse, abandonment, sexual trauma from men, discovering my queer identity, throughout it all, I did not believe in a god, in Christ, in a religious entity when I was struggling with so much. And you know what? My realisation didn't come from the Church, it came from within, one day, just like that.

To love the world and life as it is, in all of its imperfect glory. To love nature, the one that brings life and nurtures and nourishes. To love the arts, which show me so much to understand, to learn, to feel. To love myself, the only one that's been here all along. To love people—not only in a romantic sense, but in the way that they bring me joy. Each new person is a new experience waiting to happen, a new happiness I'd never known. And that's what it's all about, isn't it? A relationship may end, but it will never have been for nothing. I've loved you, and you've loved me. That's the most important thing.

「小明不要怕，要敢一點，有我在，你永遠不需要害怕。我永遠不會離開你的。我會做你一輩子的朋友。我會保護你。」
「你上次對我說的都是真的嗎？你一定不能騙我、我會受不了的。」

什麼叫做「可惜」啊，要心中有個「惜」字兒，才知道可惜。

There are five desires in the eyes of Buddhism: wealth, sex, food, fame, and sleep. The chase after wealth and fame consequently come after the bare necessities for survival, food and sleep, then sex, the fundamental human instinct to reproduce. 飮食男女 人之大欲存焉: eating and drinking, love between man and woman, are where mankind's greatest desires lay.

I love food. And for everyone who knows me, it's no secret that I love to cook for those I love and cherish. To share a home-cooked meal while conversing is such an intimate act, and I adore every moment of it. I love sex. It's only human nature to enjoy acting upon our carnal desires, and I see no point in shying from the fact. But what truly draws me to it, aside from simply the physical pleasure, is the intimacy you can only get in that moment. Both these joys can never be truly replaced by anything else. Though not every meal, every sexual escapade can end in the same pleasant result, it's the fact that I'm living through that moment, that really makes me feel alive, human.

Watching Pillion is like being forced to sit by as a newborn puppy dragging one leg and limping, following a sparce trail of laced breadcrumbs—blinded by hunger for more—into its eventual unavoidable demise of being trapped in a cage, conditioned into only being able to survive on the same breadcrumbs. The journey of finding your romantic and sexual/kink identity is an arduous one, and even more so when your first relationship makes it difficult to distinguish between the two and deludes you into believing they are one and the same. Especially in a situation like in this film, where consent isn't properly stated and roles aren't concretely defined as they would be in a true BDSM relationship (which, to be fair, every media absolutely butchers the description of BDSM dynamics and just fetishizes the kink part of it). The truth of the matter is, we don't actually know if Colin's real desire is to be a sub. For all we know, he could be mistaking his thirst, his need for affection from Ray as a want to submit to him. From the custom fitted Arlen Ness to "happy birthday, Colin", getting high off of breadcrumbs and eventually reaching the breaking point after trying to sneak into bed after having tried a sweet taste of it. Even his new dom-sub relationship with Darren was just a plug (pun not intended) to fill the Ray-shaped hole (again, not intended) in his heart.

Don't lose yourself, my sweet, sweet loves, in your process of discovering yourself. Drown yourself in lust and desire and love and longing, but never lose sight of your true needs. Be vulnerable and kinky. Love and be loved. Because that's the whole point of everything.

Why did this movie take 27 years to release in Korea? We'll never know. All I know is that I desperately yearn to be someone's muse the way Sakura is Tomoyo's.

Liminal space horror just doesn't translate properly to film. I'm sure I've said the same about Exit 8, but this type of horror only works well in formats where subtlety and unease translates well, like in J-horror games or photos/graphics. The additional backstory they've added did not fit into the creepy vibe they were seeking with the setting, and what little jumpscares they had didn't get a single rise out of me. Exasperatingly disappointing considering the hype they built up for this film.

「生きろとは言わん。ばってん、死なんでくれ。」

A traumatic event doesn't affect you only in the moment. It comes back again and again, day and night, replaying in your mind, irreversibly changing the course of your thoughts and actions for the rest of your life. Why me? Why do I have to live with this pain? Why couldn't I have died instead?

Each and every shot is excruciatingly long. It instills discomfort and anxiety in the pit of your stomach. The sepia tint resonates with a painful, wistful part of your past, and each sound overwhelms your mind. The anamorphic lens gives so much to take in. Every moment of the daunting 218 minutes of runtime feels suffocating and yet I was unable to peel my eyes off the screen.

They've survived, and they keep living, and yet they keep suffering. Of course, the trauma becomes part of the self, and the healing is a process and a journey. You will yearn to be reborn, you will wish to be dead; you will run away, you will keep your mouth shut. You will live to protect yourself; you will live only for others. The only constant is that the misery will manifest within in myriad forms.

And yet you can heal. At first purely for survival, then with meaning, and eventually for yourself. Many moments will feel like drowing in pain and sorrow. Many others will be filled with self-loathing and anger. But you will find the means to keep going. The world can bloom back into full color. As long as you don't die, even if you aren't living.

Knock, knock.

...

Knock, knock.

No real person talks like any of these characters did. In my mind a Korean male-Japanese female couple is essentially the same thing as a WMAF couple. I get irrationally angry nowadays when a Korean even talks about going to Japan nowadays actually idk

By all means not my favorite arc at all but brought back all the good memories of Gintama... Incredible fight scenes, hilarity throughout. Anyways justice for my baby boy gyaru Okita... He deserved more screentime

Absolutely amazed at how they managed to do all that. I've never seen the show but I still managed to have so much fun during this. I can't believe no one else was laughing during this?

The most stressful film that will make you feel like a better person each time you rewatch it because at least you're not in this position.

Humans are so infinitely interesting because how do we manage to get ourselves into the worst situations ever and still keep living? Like I doubt even the dolphins understand the kind of emotional and situational turmoil humans undergo. It's truly so horrifying and disgusting and yet beautiful in a way. There've been so many points in my life where I was dealing with the most stressful, disgusting information, and yet I kept going. Messiness prevailed. And yet we continued to live. Life is wonderful. I wonder if Liz Taylor would have called me a flop as well.

True masters of absurdism will never fail to amaze me. I really think having lunch with Dupieux will break my mind to the point to no return and the idea of this excites me to no extent

What the fuck is that tire's problem

Yannick is film Twitter.

There's no question that media literacy has plummeted throughout the years; it seems like every other day, I see new insane discourse about how some film or book is "bad" because it's "difficult to understand". And to these people's credit, I don't think this issue is entirely their fault. Literacy as a whole has been on a downhill trend, surprisingly enough in a similar pattern to our economy and job markets. As financial crises arise and governments get more corrupt, the last thing the working class has the time or energy to do is indulge themselves in the arts. Being overworked and exhausted, an underwhelming experience at the theater literally is their personal 9/11. Anyways tomorrow I will be bringing a gun to my local theater

It took me a good 45 minutes to realise I'd been watching the wrong movie. And yet I kept watching to the end, because I'm a trooper in that way. Incredibly messy, no real suspense to speak of, I refuse to believe they intended for this to be a thriller because there was nothing there. I love to hate watch Nicole Kidman's bad movies (and boy does she have a good amount of those) but I really wasn't even having fun unfortunately. And honestly justice for my girl Julia Roberts because I'm literally her namesake but half her films have me disappointed sorry love :/

The downfall of naughties cinema sequels and reboots in the 2020s needs to be studied because this is exhausting. Where is the color? Where is the glamour? All we have now is soulless nostalgia bait with drab saturation, lackluster plot, drab Millennial personality quirks, and death of camp as we knew it. None of the cast's potential is fully utilized; Caleb Hearon's reduced to fat jokes, B.J. Novak is just the annoying nepo CEO, Helen Shen's extremely one-dimentional caricature of a gen Z Asian American intern. If you're doing a 00's cult classic sequel, at least put some heart into it. You all already know I'd have given this a lower rating had it not been for the love of my life Stanley Tucci.

I finally caved and watched this film because of this lovely man I met at the pub on my last day at Cannes a few days ago. He was describing the scene about the present wrappers and how even just such a simple scene was used to lay the groundwork for a quiet sense of doom and I saw that as a sign to finally knock this off my watchlist. Personally though, as someone who's had a history with unexplained medical emergencies, chronic illnesses gone long undiagnosed, multiple psychiatric referrals and olfactory hallucinations, this was already a horror in my mind from like the ten-minute-mark. Truly terrifying stuff especially when you've experienced all of these things on a regular basis. Am I getting fucked over by chemicals and microplastics? Or am I falling down the rabbit hole of the toxic hollistic herbalism lifestyle because of big pharma having let me down countless times over the decades? Or maybe it was all AIDS, after all.

The worst best 90s romcom ever because Johnny might be my biggest nightmare in a man but if I were in Frankie's position I may or may not be swept off my feet by 46-year-old Al Pacino as well.

I'd be lying if I said this movie wasn't so hot like I'm sorry I'm sorry I'm sorry like it's just so hot and I will die on this hill I'm the worst dancer known to man but like God how did they manage to make a movie about erotic dancing ACTUALLY so erotic and hot?

Why aren't films horny like this anymore? Take back Babygirl and Euphoria and give us more of the Moulin Rouge! nonsense please

I know you lot are joking but I genuinely can't fuck with Aussies

Yet another title that had me severely disappointed since the synopsis seemed promising. There's just a lot of... anger and hatred and inexplicable character traits that I couldn't quite grasp. Such a great chunk of this was just incomprehensible that I really started wondering if I'm the media illiterate person I used to always make fun of. Potentially subject to rewatch if it gets proper distribution anytime soon (doubtful)

And when I say the energy in this theater was magnificently ELECTRIFYING!!! You guys I can't even begin to say how eclectic I felt during this screening. This was undoubtedly the greatest experience I've ever had at a screening in my entire life. Never before have I seen such a large theater filled with so many gays laughing at prostate jokes and clapping along to JIM! JIM! JIM! JIM! Long live queer animation and protect the gays from Heterosis at all costs!

Found family is a quintessential QUEER trope and I truly feel like y'all been forgetting that!!!! Hilarious, fierce, emotional, an unapologetically raw film that shows the nitty-gritty of queer partying culture, with all the burdens that come with it. If you've ever woken up at 4pm hungover after a night of gay clubbing and felt all that guilt and despair and self-loathing, you will cry watching this.

Forever a fan of strained parent-daughter relationship films. I keep seeing this compared to Sentimental Value which feels a bit unfair, because this really just is its own, far more sinister thing. Javier Bardem of course is a powerhouse, and Victoria Luengo's acting really had me stunned. Such raw, unfiltered emotions you could only experience in a dysfunctional relationship with your family. Strangely I thought more of my mother all throughout the screening which I really think fucked me up even more during it. Also the sequence flipping through the cameras knocked my rating up by half a star. Stunning stuff

So much fun. We genuinely must've been the most annoying people on this last-minute queue chanting "FULL! PHIL! FULL! PHIL!" for like three hours. Absolutely devastated that so many people don't appreciate a fun abstract movie... Justice for Full Phil!!!

It's impossible to criticize all the flaws of Gentle Monster without first giving Léa Seydoux all the praises she deserves for her performance. Gut-wrenching, heartbreaking, and without a doubt phenomenal. And do take this review with a grain of salt as everyone has their own responses and experiences with a film; I've seen many others say they loved this film. But there's a sense of "dreamlike" aimlessness that looms over the general story that made it so difficult to see what the point even was by the third act. And of course there's the matter of the actual subject matter, which was frustrating and disturbing that I was this close to walking out multiple times. I truly think this was my most disappointing watch of Cannes this year, because I can see so many directions the film could've gone in to make it a much better experience.

Rear Window if it had Isabelle Huppert and Catherine Deneuve and everyone was a freak but also somehow really disappointing because what the hell happened? The highlight of this film was when Huppert lights her cigarette with a toaster. Like to be fair it was really sick but what?

Literally Sandra Hüller and some perfectly beautiful cinematography, what more could I ask for? Like it's no Palme d'Or material, but it's a restrained, painful post-WWII film that feels like a lullaby being murmured into your ear and waking up with tear stains on your pillow.

It's clear as day how so many filmmakers have seen The Substance and ran with the idea being all "oh yeah! A fun little body horror! I can make it campier and cooler!" Yeah, some shots were pretty grotesque, there was doomed yuri, but the whole film in its entirety felt like a bad trip but not even as exciting. Slightly nauseating at best, we have to put some life back into the body horror community!! Do better!!!

Precisely how does one even begin to describe the absolute conundrum that is Ken Russell's The Devils to someone who's never seen it before? I was stunned to see that a good handful of people in my remaster screening of Cannes Classics had never had the delight of experiencing this film—I'd naturally assumed that everyone else was excited for this because of the love they'd already had for it. All the better, I suppose; I'm all for any new fans of Ken Russell's works. I was laughing my ass off at the introduction Elize gave, particularly at the moment when she described Russell as a "sweet boy"—because I knew none of these first-timers would be ready for the depraved nunsploitation film packed with lust, crude humor and filthy madness that is The Devils. And what a delicious treat it was! The all-new footage had me completely gagged, the audience was great (as far as I'm aware the only walk-out was the guy sitting next to me! and that was great because I could move closer to the center), completely electrifying screening. Love you all! Bisous!

Incredibly frustrating and irritating watch. It felt like to me that the director was trying to seem unbiased and paint a picture of the actual accounts of the story, but just as with many other "true story" films of the genre, he failed at it miserably. So many points reeked of islamophobia to the point I was experiencing physical discomfort.

Albeit a little slow with the progression as with many Japanese slow cinema type films (there were people leaving left and right throughout the entire duration of the screening), it's very beautiful and calming. So reminiscent of my years in Japan, very simple, peaceful and "low-key" with dialogue-heavy scenes, and there's so much about discovery of the self and identity throughout. Definitely will be finding time to rewatch this whenever possible!

20-Year-Anniversary of Pan's Labyrinth, Cannes Classics 2026 Y'all know I don't play around about my love for del Toro like this man is actually the best!! My second year in a row seeing him in person and he is just so amazing, his presence genuinely makes me feel so giddy and happy♥️♥️ I actually can't believe it's been twenty whole years since the premiere of this film and I was so excited to have been part of the audience celebrating it, such a beautiful crowd, amazing experience!! Fuck AI, love creatives forever♥️

They just don't have bisexuals like this in cinema anymore and I think that's such a loss for the cinema community. Liza Minnelli is such a powerhouse of an enigma as always and fuck fascism man that shit is so lame

Gave me such a massive headache like I'm sorry what the fuck was going in this movie? Also I really cannot seem to like JLC at all like I was so excessively pissed off every time she was onscreen

Rewatched on my plane ride with no subtitles, pissed me off just as much as the day I first saw it. Love TV, hate the networks, let's get more corporation monopolies up in this bitch

Humphrey Bogart is really hot I can't even lie like yeah he's old as hell compared to Audrey but at this point I don't even care of course I'd choose him

Love a film that stars Alec Baldwin being a bad person because it only justifies my hatred for him even further ♥️

It brings me terrible joy seeing people with a clear lust for life. Because that's what living's supposed to be. Love and happiness and doing things that bring you those positive feelings. Caring for others. Making friends. Raising the future generations. Filling your days with enrichment. Sally Hawkins really is that girl

They can't make Disney Channel adjacent teen romcoms as gaggy as this anymore. Anyways Owen is a cunt, Theo pissed me off, Riley is the nicest guy i guess but unfortunately Aussie. Emma and Meg are lesbian lovers and Grace needs to smoke a blunt. Cordelia needs a Xanax.

Another drink, another binge, another bender, another spree.

How did we, as a society, revert to normalizing alcoholism like it's such a nonissue? (I actually had a whole wall of text talking about this but I don't really care that much about it anymore. This is a good movie and Billy Wilder goes crazy with it 👍)

This still happens all the time, just not as often in tragic cave-in freak accidents. Makes your stomach churn. Kirk Douglas is just... Wow.

You've got to love a film that literally includes an anti-spoiler PSA during the credits... Billy Wilder literally has me on my knees