“You know that feeling when you see someone getting off a bus and their body language as they disembark… you can feel everything about that experience. I think we carry so much and communicate so much through our bodies. And there’s a really kind of guttural connection to that, as simple as seeing someone smile and wanting to smile. We share so much through small gestures that we make everyday and, for me, cinema is a language to express that because it can put you in the point of view of another body like no other medium. There’s traditional dance on film but I’m also interested in this other space, which is focused on just how we communicate, and how to express that through such a vibrant and living art form.”

Read: Tribeca alumnus Anna Rose Holmer talks to Matthew Eng about her gorgeous and psychologically-astute feature directorial debut, The Fits, now back at Metrograph for a limited time only!


Stunning Europeans beds at the Metropolitan Museum of Art.  

Top Left: Bed from the Palazzo Sagredo, Venice, 1718.
Top Right: Flying tester bed, lit a la duchesse, from the Hotel de Belle-Isle, Paris, 1782. 

Bottom Left: Bed ordered for a state room in Hampton Court, England, 1698.
Bottom Right: Bed from the reign of Louis XIV. The bed hangings depict stories from Ovid. France, 1700.

My Favorite Performances of 2016

These are the 15 movie roles this year I most felt deserved highlighting. Man, there were some great roles this year, introduction, introduction, introduction, how many words does this have to be? You don’t care and I certainly don’t. On to the list!(Note: except for the top two, this list is in no particular order).

Glen Powell (Everybody Wants Some!!)
The entire cast of Richard Linklater’s spiritual follow-up to “Dazed and Confused” is one riotous bundle of joy (and a cure for the usually cliche portrayal of college kids), but Glen Powell’s Finnegan is by far the standout. The scene that makes his character comes at a party for the “artsy fartsy” crowd when, after encouraging a freewheeling spirit of sex, booze, drugs and rock ‘n’ roll throughout the film, he actually gets for real hurt when his proteges crash his chances with a girl he happens to like. Finnegan is on the cusp of adulthood and leadership heading into one of the most tumultuous decades of American history, but he’s not quite there yet…and it’s the leftover, subtle vulnerabilities of the kid during his last days of youth that make him so unbelievably endearing. If there’s any justice in the world, EWS!! will do for him what Dazed and Confused did for…well, most of the cast.

Tilda Swinton (A Bigger Splash)
The (in my opinion, overblown) controversy over Swinton’s Doctor Strange role sadly overshadowed her performance in this Fellini-esque story of beautiful people behaving in decidedly un-beautiful ways. Playing a major, David Bowie-esque popstar who has gone near-mute from the stress of living in public, Swinton has few lines but somehow manages to steal the show from a simmering Matthias Schoenaerts and a manic Ralph Fiennes. Being mostly robbed of the ability to speak, Swinton has to convey a massive range of emotions largely with body language—a task she accomplishes with all the skill you’d expect from one of the world’s greatest actresses.

Natalie Portman (Jackie)
Frail and tough, honest and veiled, open and censoring—Portman’s portrayal of the most famous First Lady in American history is riddled with contradictions that, in her hands, become a coherent character. She can sink to the depths of unbearable anguish at a moment’s notice, and five minutes later it is as if nothing very bad had happened. Yet, there’s always something boiling under the surface…perhaps an understanding that history will forever place “JFK’s wife” next to her name, whatever else she may do with her life. At times, Portman seems to barely hold it all in, yet when we leave the theater she is still a mystery. Maybe that’s how it should be.

Joel Edgerton (Loving)
Rarely does more go unsaid or understood than passes behind the face of Joel Egderton as Richard Loving, one half of the married couple whose simple wish to live in their home state of Virginia dealt a death blow to laws banning interracial marriage in the United States. Edgerton says little, and when he does it is in as few words as possible…every one of which speaks his entire mind. Key to the performance, though, are scenes of him simply sharing intimate moments with wife Mildred. At a time when the stereotype of the traditonal American husband and father of yesteryear is often held up for all the wrong reasons, Edgerton’s performance is crucial.

Emma Stone (La La Land)
Until near the end, the music is the driving force of La La Land. Then someone asks the character of Mia to “tell a story”, and Emma Stone delivers one of the best scenes of her career. The strength of the “Audition” number redefines what has come before for the character, and solidifies her as both someone we can really root for, and the personification of dreamers, however hopeless they might be. The final look she gives Ryan Reynolds in the film speaks more than a page of dialogue ever could.

Viola Davis (Fences)
Before the era of feminism, there was an unspoken agreement between married couples in the U.S.: a wife was to put up with her husband’s shit, even when he was full to bursting with it. It was hard to pick one of the two main performances in “Fences” to single out, but ultimately Davis’s simmering cauldron is the heart of the story, enabling her to both survive and love life with her deeply, deeply flawed husband. Unlike Denzel Washington, who gets to vomit forth an endless stream of anger throughout the film, Davis is tasked with saving her one great outburst for when it is most needed and has the most impact, creating a scene the trailers should not have featured; it should have been allowed to burst on audiences like water from a broken dam, rolling over everything in its path. Five minutes later, she’s calm again, but she’s also a different woman…or maybe just another woman who was hiding behind the first all along.

Sunny Pawar (Lion)
The trailers all emphasize the adult Saroo’s search for his home, but the bulk of the movie is taken up with a young Saroo getting lost in the first place, and Dev Patel is overshadowed by 8-year-old Sunny Pawar…not an easy feat. Like Quvenzhane Wallis and Jacob Tremblay, Pawar takes a role that could easily have been phoned in (since we have natural sympathy for kids) and makes little Saroo into an enormously relatable character, a lost boy whose stomping ground is no Neverland. It isn’t any wonder the filmmakers keep coming back to him in flashbacks after his character is grown. He’s the heart of the film.

Hailee Steinfeld (Edge of Seventeen)
I swear, my generation moons over the era of John Hughes High School comedies so much they seem to forget that being awkward, out-of-place and unable to wait for the day after graduation day isn’t unique to them. Every year we get a handful of largely unheralded comedies about that very topic, and Hailee Steinfeld’s performance as a morbid, confused and, yes, aggressive (bad female! bad!) teen who openly discusses her sex life, alcohol habits and dark, dark, dark humor elevates “Edge of Seventeen” to the top of the pack. With acerbic wit, pinpoint aim, and unflinching pessimism, Nadine Franklin manages to skewer not just every aspect of High School life but many of life in general. The only target she routinely misses? Herself.

Kate Beckinsale (Love & Friendship)
It is exceedingly rare that a woman in the movies can be aggressive and acidic at the same time. Kate Beckinsale’s Lady Susan is such a character. It is impossible for all but the most ardent feminists to actually like her, and you’d never want to be drawn into her poisonous circle of rumor, manipulation, innuendo and life-destroying gossip, but you have to admire her for taking charge of her own life at a time when women were tasked with hosting guests, looking pretty and shutting up. These days, she’d almost certainly be described as a sociopath, wrecking lives for her whim and amusement, yet you can’t look away. She’s the year’s best villain…or is she?

Ben Foster (Hell or High Water)
Chris Pine’s well-meaning father is our anchor to this story of two desperate brothers in hard times, but Ben Foster is the anarchic, destructive force that keeps our eyes glued to the screen. Whereas Pine’s dad doesn’t think of himself as criminal and Jeff Bridges’s sheriff has spent far too much time watching old westerns, Foster knows exactly what he is: a violent criminal whose psycopathy he might be able to turn to his brother’s aid in one last blaze of glory. There’s never really a question of him surviving the story; he’s not a man, he’s a storm, and he’s here to rage harder than he ever has before blowing himself out.

Naomie Harris (Moonlight)
Talk about embodying multiple people in one role. Harris plays mother to a young, gay black man at three different stages of his life, but she’s not the kind of perfect mom the movies prefer. She’s a drug addict at a time when the War on Drugs refused to treat such people with any sort of humanity, and she’s got a temper to match the times; when she screams hurtful words at her own son, the decision to remove the audio from the scene makes her come off as near-demonic. Simplicity, though, isn’t really what Moonlight deals in, and there are layers and regrets to her revealed as the film goes on. Her final scene asks a rather important question: should any time be too late to be forgiven?

Anya Taylor-Joy (The Witch)
For the most part, horror will forever be considered beneath the notice of those who hand out accolades, which means even if you turn in one of the most startling performances of the year, it doesn’t really count if it’s in this genre. That’s a shame, because unless you count a tiny, uncredited role from 2014, Taylor-Joy makes the most impressive film debut of any actress this year. Called upon to do things involving animal blood and demonic possession that a more image-concerned person might spurn, she handles the role of a teenage girl whose family is being assailed by the forces of hell by taking it all absolutely seriously, which is essential; any hint that she thinks anything she’s doing is silly, and the film falls apart. There’s reason to question whether anything supernatural is really happening in the New England wilderness of the late 1600’s, but no reason to doubt the strength of Taylor-Joy’s performance.

Ryan Reynolds (Deadpool)
Not everything has to be so serious, something Deadpool would probably remind you of right before delivering a kick straight to your kibbles and bits. As the star, producer and driving force behind the hilariously raunchy R-rated superhero flick, Reynolds is the most eminently watchable and entertaining a comic hero has been outside the suit since Robert Downey Jr. swaggered into the Iron Man armor. Mel Brooks once famously described his films as rising below vulgarity, and whether Reynolds is taking time out to break the fourth wall or making incredibly lewd comments at his blind, elderly, female roommate, he’s bringing the spirit of “Blazing Saddles” to a genre that sometimes really needs to get over itself. In a year where “Batman vs. Superman” took itself more seriously than a second heart attack, Reynolds’s Merc with a Mouth is the filthy, over-the-top cure the doctor ordered.

And my top two performances, starting with my choice for Best Actress:

Isabelle Huppert (Elle)

In arguably the most challenging role this year, which comes in certainly the most challenging film, Huppert plays a woman who, after being raped, plays a cat-and-mouse game with the rapist. Whether she is trying to catch him or get caught again is another question. The role was turned down by multiple more well-known actresses, before being taken by Huppert, who deserves to be more well-known outside her native France. Key to her performance is that her character is not altogether very likable, and if she were not a victim of a heinous crime, you’d have a real difficult time feeling empathy for her. That takes far more guts, I think, than playing out brutal scenes of assault, since we tend to demand our heroines be pure as the driven snow.

Casey Affleck (Manchester by the Sea)

He’s been turning in the best work he possibly can in every role he’s had, big or small, for two decades, always overshadowed in fame by his older brother, but this year is Casey’s. Angry, violent, adrift and bereft, Lee Chandler is a man with no purpose in a world that demands every man have one, not that he grasps himself on that level: he’s simply a man who has been struck over and over until nothing but armor remains. Forced to deal with the issue of custody for his nephew after his brother dies, he portrays a truth no man wants to face: not all of us are cut out for responsibility. Despite this, Affleck walks a fine line, making Lee simultaneously a jerk and someone you’d really like to see come out on top. Unfortunately, as Lee well knows, the world just isn’t that simple.

Honorable mentions: I limited my list to 15, and even after expanding from ten it was still difficult. There are lots of great roles that didn’t make the cut, and here are the ten that really gave the winners a run for their money, in one big list. If you don’t see your favorite, remember: it doesn’t necessarily mean they weren’t good, just that I can’t possibly list them all.

Kristen Stewart (Cafe Society)
The Cast of Don’t Think Twice
Royalty Hightower (The Fits)
Meryl Streep (Florence Foster Jenkins)
Lou de Laage (The Innocents)
Ruth Negga (Loving)
Lucas Hedges (Manchester by the Sea)
Jessica Chastain (Miss Sloane)
Pretty much everybody in Moonlight (Moonlight)
Katie Holmes (Touched With Fire)


“We’re saying that there is power in collective identity. And it should not be conflated with conformity. There is that fear, though, and it’s real. What Toni is struggling with is fear of herself. Not knowing her own body, desires, insecurities, limits. That’s what adolescence is about. It’s pretty scary.

The entire film is really about putting the audience in Toni’s headspace and physical bodily space, and that’s fraught with anxiety and tension. That’s where the nod to horror comes from. There was this unseeable monster, which manifests itself in the fits. But I think it’s also brewing quietly in Toni. When you see that monster it might not be what you feared. It could be this beautiful, transformative, graceful thing. The not knowing is what’s so scary.”

– Anna Rose Holmer on the element of horror in her feature debut, The Fits

because they still need to talk about that very important question…

no not THAT important question

“For all the despicable things i’ve said about Wish World me, she did have like really great hair,” Emma says.

She’s back now. Killian recalled how hours ago she poured through a portal into the center of town (everything seems to happen there, really). She was clad in a white, flowing princess dress and ermine wrap. Her hair was crafted into an intricate braid, gold floral pins accenting it like a crown. It was all contrasted with her shockingly red lips, an exquisite look fitting for royalty. 

For a moment, he had nothing but silent awe as he admired her. Then-

She was in his arms, clinging to him in a fierce and earnest hug. He knew in an instant that she felt the same gratitude that despite their many separations, each time wondering hopelessly if it was the last, they’d found their way back together once more.

“You are never going to believe where I just was,” She’d babbled.

They’d walked back together to their house, leaving her family, who were mostly attending to a bewildering and somehow resurrected Robin (death seemed to have no old on this town- who knew?). Killian was certain that he’d have time to welcome back his old friend later. For now, he needed to attend to his Swan. As they walked, she spun a story a different realm, where she sang like a cartoon princess in the forest and where he was an old man (”Really Swan? I shan’t believe it! Me old? I’ve retained my youthful glow for over 300 years… I was still devilishly handsome, right?”)

She’d deposited her fairytale dress in a heap the moment she’d walked in the room. Killian had stared after her as she’d crossed the room in a corset, thinking with a smug grin about the possibilities these additions to her wardrobe provided. She’d glared at the offending as she pealed it off and flung it into the the pile, opting instead for the soft flannel pajamas he knew she loved.

Which, had all led up to her curling up on their bed and beginning to unbraid her hair.

“I mean, this is, like, a really good braid. I’m not sure I’ll ever duplicate it,” She says, as she runs her fingers through the strands, loosening the tight weave.

“Your hair is lovely always, Swan,” He replies softly, coming to sit beside her. “Would you like an help?”

She nods and his hands begin to card through her silky locks. She hasn’t been gone long, but he yearns to touch her, to know that she is real. Picking the golden pins out of her hair is the least he can do.

“You’re tired, aren’t you?” He asks, as he finishes his work, wrapping his arms around her and resting his head on her shoulder.

She nods again.

“I can tell,” He says, with a smile as she shakes her hair. Her golden strands, now free of their braid, dancing as they fall into loose, dreamy waves. “Do you want to talk about it first?”

She shakes her head, as she tucks herself into the covers, “Not really, there is a lot to unpack honestly- besides, you know, the part where you were freaky old.”

He rolls his eyes, finding his place beside her in bed.

“You can always talk to me about it,” He says, knowing how fearlessly open she’s learn to become, “Always.”

“I will,” She says, her breath slowing, “I definitely will, just- tomorrow.”

“Aye,” He says, “That’s fine.”

But he can’t let her sleep without asking the question that’s been itching in the back of his mind since the event occurred. It’s not terribly urgent, but he doesn’t want to to pass up the opportunity to ask her, right now- in case anything should separate them again.

“Just one thing, love. Before you sleep. I thought I’d ask about, just incase it comes up again…. 

What do we do if a genie shows up?”  

oneofthewolfchildren  asked:

Mom! Do you have, like, an AU that you think it would suit YoI/Victuuri so perfectly? Ily <3

The story of Victor and Yuuri might just be the best goddamn love story of this generation, so coming up with a fitting AU for them is as fun as it is difficult. 

However, there are some universal tropes that can fit. Say, a mix of Royalty AU and Arranged Marriage AU (not forced! @cuteanxiousbaby taught me about the difference between an arranged and a forced marriage today, so i find it necessary to include this distinction).

It would be a slow burn story of finding one another through mutual understanding. A story of discovering each other, by spending time together, by talking, by sharing about daily problems and fears.

A story of how you can fall in love very slowly and very surely. 


True Disaster [Joker x Harley]

Summary: She is the only one who has seen him in absolute abandon, she is the fitting royalty and the missing piece to his throne. Joker/Harley. Suicide Squad-verse.
Warning: Sexually explicit content.
This is a gift to my readers, as promised ♥

She is beautiful, he thinks, on her knees, looking up at him with a simply adoring look in her eyes. Her tongue runs across him in deadly patterns as she licks him slowly, from tip to base, and relishes in his sounds and groans.

With one hand on his hip, digging in gently and pressing her nails into the skin just the way he likes it, she adds more pressure and almost tips him over the edge. He groans as her nails turns into claws, leaving a pattern of red marks across his scarred skin.

He has made her, she is his greatest accomplishment. With plump lips and sharp teeth, she is stunning with dark bruises on her throat, those marks she wears with pride. Her eyes gleam; there is darkness in that baby blue, something ugly that matches his own.

Something he has created. With messy hair around her flushing face, she is insatiable, with her body spread and wide open for him, wet and needy, aching for him. Violent, raw and honest in her desire. No pretense, nothing but intoxicating power.

He tilts his head to the side slightly, his fingernails still bloody after a recent murder. He watches her, never taking his eyes off her as she goes down onto him as deep as she can take it.

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