My makeup pre-car accident 😂

I was trying to go for brown, bronzed goddess very Rihanna-esque u kno 🙏☺️ This really was such a fly ass look and I’m so pissed that I wasted it lmao!

Lips: Brown Rimmel Kohl Kajal Eyeliner (yes, eyeliner), Liya’s Nude from L'oreal Paris’ Collection Privée. Also used that Rimmel eyeliner in my waterline!

Face: MUF HD Foundation & L'oreal True Match, Hard Candy Glamoflauge Concealer, Hard Candy Contourice Trio in 3 x A Charm, NYC Sunny Bronzer, ELF Tickled Pink Blush, Elf HD Undereye Setting Powder

Eyes: UD Pulp Fiction Palette, TF Cat Eyes Palette (Tigers Eye & Leopard on Lid), L'oreal Amber Rush (center lid), NYC Liquid Liner, Ardell 109 Lashes

20 years ago, I started my degree at Manchester University. Of all the things I did during my time there, the thing I have the most fond memories of were the Manchester University Film Society (affectionately, but somewhat innappropriately known as MUFS). I joined at Fresher’s Week, attended most of the events (typically, 5 films and 3 nights a week!), and eventually got involved in the organising where I ended up editing and designing the film programme.

To mark this, I decided to set myself and my wife (who also went to Manchester, but never joined MUFS) to watch at least one film a week from the films shown by the society over the course of that week 20 years previously (fun as it might be to watch them all, we simply don’t have the time). Then I promptly forgot about it until it was pointed out to me that this was the week I needed to start. So we’re already a week behind, but hopefully will catch up.

I’m planning to do a short potted review of each film we watch here. In addition, if anyone wants to take part as well, they can too!

If you are interested in taking part, then the films shown on the week of 25 September - 1 October 1994* were:

  • Sunday 25 September: Four Weddings and a Funeral (Dir. Mike Newell, UK, 1994)
  • Tuesday 27 September: Posse (Dir. Mario Van Peebles, USA, 1993) & Tombstone (Dir. George P. Cosmatos, USA, 1993)
  • Thursday 29 September: The Anchoress (Dir. Chris Newby, UK/Belgium, 1993) & The Hour of The Pig (Dir. Leslie Megahey, UK/France, 1993)

The films shown on the week of 2 October 1994 - 8 October 1994 were:

  • Sunday 2 October: Philadelphia (Dir. Jonathan Demme, USA, 1993) plus RSVP (Dir. Laurie Lynd, Canada, 1991)
  • Tuesday 4 October: The Wedding Banquet (Dir. Ang Lee, Taiwan/USA, 1993) & Some Like It Hot (Dir. Billy Wilder, USA, 1959)
  • Thursday 6 October: Badlands (Dir. Terence Malick, USA, 1973) & Kalifornia (Dir. Dominic Sena, USA, 1993)

* This is according to the programme. In fact, MUFS films were increasingly cancelled or postponed at the orders of the student union as they insisted that their music gigs took priority - a bit of a sore point. I don’t have a list of precisely what film was shown when, so I’m just going by the programme.

Review: The Anchoress (1993)

Director: Chris Newby

UK / Belgium

108 mins

What they said:

Excerpts of reviews from the Manchester University Film Society booklet.

Isobel Stark: The themes explored in the film may be contemporary but they are not anachronistic for the fourteenth century. Gender, sexuality, spiritual authenticity were all troublesome issues for the Church if not the State, the latter of which was more interested in a woman’s (or a man’s) control of his/her body…

Cathy Bryant: We came out of this film moved, uplifted, and transported. Why was it ignored by the media?

What I think:

The Anchoress was the second film I saw at the Manchester University Film Society, after Four Weddings and a Funeral, and in many ways the sort of film that the society did a good job at finding an audience for that would otherwise be forgotten.

The film concerns the tribulations of Christine Carpenter (Natalie Morse), the historically real Anchoress of Shere, in Surrey. An illiterate peasant girl who claims to be able to communicate with the Blessed Virgin, she is interred into the wall of the local church. She initially revels in her ascetic lifestyle, but increasingly clashes with the hypocritical and controlling parish priest (Christopher Ecclestone).

There is a feast of British thespianism on display. Joining Ecclestone is a criminally underused pre-In the Name of the Father Pete Postlethwaite (that film was shown by MUFS in November 1994), playing second fiddle to his on-screen wife Toyah Willcox. It was apparently Ann Way’s last film. Julie T. Wallace, famous in the UK by then for her performance in the BBC’s adaptation of The Life and Loves of the She Devil, has a blink-and-you-might-miss-her role, while future Slytheen Annette Badland has a more substantial role.

It is a difficult film to love. The script is frankly not very good, and some very talented actors are not given very much to work with. The central theme, that being the clash between the patriarchal church and wider society and the women it seeks to control, comes across well enough, but it is let down by a weak central performance by Natalie Morse.

Morse does nothing to convince you that she is a medieval peasant stricken by ecstatic religious visions. Some of the scenes between her and Ecclestone are quite effective, but the film places a tremendous amount of emphasis on her admittedly lovely face, in which she fails to convey anything much at all.

Fundamentally, the relationships between Christine and the priest and Christine and her mother are crucial to the film’s success, yet fall flat - fatally undermining the drama. I can’t help but feel there are some parallels between the priest’s counterproductive desire to control the anchoress and the director’s own mishandling of his star; she slips through his fingers in the end.

While the photography is often very beautiful, the lighting is quite dull, and Chris Newby makes some very odd choices at times. Far too often, the artifice gets in the way of the art. One scene, in which Christine discovers masturbation, consists of cuts between her face having a not especially convincing orgasm, and her fingers poking around a hole in the ground, is unintentionally hilarious. The earth = Mother symbolism isn’t so much hinted upon as clobbered around your ears at times.

Fundamentally, you have to ask why this film was made in black and white when nature is such an important motif. This is a film that is crying out to be bathed in browns, greens, reds and oranges - but instead you just get not-especially-evocative grey. It’s as if monochrome here is being presented as an automatic pass for an art film, when all it really does is detract from what the film is meant to be about.

For all that though, the subject matter is fascinating enough that the film frequently transcends its shortcomings; the fact that it is based on actual historical records makes it all the more fascinating. Its simplicity as a film lets you fill in the gaps. So while I don’t agree with the MUFS reviewers that this film was criminally ignored by the mainstream media, it’s a perfectly engaging use of two hours of your time.

Coming next…

The films shown on the week of 2 October 1994 - 8 October 1994 were:

  • Sunday 2 October: Philadelphia (Dir. Jonathan Demme, USA, 1993) plus RSVP (Dir. Laurie Lynd, Canada, 1991)
  • Tuesday 4 October: The Wedding Banquet (Dir. Ang Lee, Taiwan/USA, 1993) & Some Like It Hot (Dir. Billy Wilder, USA, 1959)
  • Thursday 6 October: Badlands (Dir. Terence Malick, USA, 1973) & Kalifornia (Dir. Dominic Sena, USA, 1993)

Review: Some Like It Hot (1959)

Director: Billy Wilder


122 mins

What they said:

Excerpts of reviews from the Manchester University Film Society booklet.

Isobel Stark: What can one say? This is simply one of the best comic films ever made.

What I think:

Believe it or not, this was the first time I saw this, missing it both when it was shown at MUFS and failing to watch it in the 20 years before and since. I’ve been well aware of it’s legendary status however, so it was about time I gave it a go. The film involves two musicians (Jack Lemmon and Tony Curtis) disguising themselves as women to join an all female band to escape the clutches of a group of Chicago gangsters after witnessing the St. Valentine’s Day Massacre. Along the way they get embroiled with the lead singer of the band, played by Marilyn Monroe.

It’s a fascinating film to watch 55 years later, with a presumably more enlightened eye when it comes to gender and sexuality. It’s remarkably progressive.

Growing up in the UK in the 80s, drag has a huge pantomime tradition. With it, comes a certain assumption that a man dressing up as a woman is innately hilarious, and within that comes a certain value judgement regarding the superiority of men compared to women. I can imagine a film being made very much within that tradition in which the differences of the sexes were really dragged out. I don’t think I would have liked that movie.

In fact, despite the fact that both male leads are presented as macho womanisers, the gender fluidity itself skipped over rather lightly; switching from man to woman isn’t really presented as that big a deal. The plot demands that the men can pull off their disguises, so making them look ridiculous wouldn’t have worked. In fact both Lemmon and Curtis make pretty convincing women, Curtis in particular (ahem).

And of course, there’s that famous “nobody’s perfect” closing line. The joke now is not so much the nonchalance of Joe E. Brown’s character towards the prospect of marrying a man, but in seeing a bit of the present in our homophobic past. It challenges your preconceptions of the 50s as an intolerant, conservative era in which such things weren’t talked about less tolerated.

Is it unfair to look at a 55 year old film through a present day lens? Well, given that the film itself is a slightly anachronistic take on the late 20s, filled with ironic references to the Great Depression et al, I think it’s entirely open to such analysis.

With all those “issues” so well handled, you’re left with the film’s plot to focus on. It is of course a farce, but it holds up quite well - even if it does depend on a few coincidences which are a bit of a stretch. The performances are all great, even if there are a couple of scenes where it isn’t clear if Monroe is acting drunk or actually wasted.

Overall, it’s a glorious romp and one that I enjoyed a lot notwithstanding its surprisingly lengthy running time. 

Coming next…

We are now hopelessly behind schedule, so will be spending the next few weeks attempting to catch up. The next few weeks are as follows:

9 - 15 October 1994:

  • Sunday 9 October: Schindler’s List (Dir. Stephen Spielberg, USA, 1993)
  • Tuesday 11 October: Bodies Rest and Motion (Dir. Michael Steinberg, USA, 1993) & Insignificance (Dir. Nicolas Roeg, UK, 1985)
  • Thursday 13 October: In The Soup (Dir. Alexandre Rockwell, USA, 1992) & Reservoir Dogs (Dir. Quentin Tarantino, USA, 1991)

16 - 22 October 1994:

  • Sunday 16 October: True Romance (Dir. Tony Scott, USA, 1993)
  • Tuesday 18 October: The Cement Garden (Dir. Andrew Birkin, UK/Germany/France, 1992) & Don’t Look Now (Dir. Nicolas Roeg, UK, 1973)
  • Thursday 13 October: Painted Heart (Dir. Michael Taav, USA, 1992) & Excalibur (Dir. John Boorman, UK/USA, 1981)

23 - 29 October 1994:

  • Sunday 23 October: Short Cuts (Dir. Robert Altman, USA, 1993)
  • Tuesday 25 October: Treasure of Sierra Madre (Dir. John Huston, USA, 1948) & Eureka (Dir. Nicolas Roeg, UK/USA, 1982)
  • Thursday 27 October: Raining Stones (Dir. Ken Loach, UK, 1993) & TBA

30 October - 5 November 1994:

  • Sunday 30 October: Naked (Dir. Mike Leigh, UK, 1993)
  • Tuesday 1 November: Yojimbo (Dir. Akira Kurosawa, Japan, 1961) & Violent Cop (Dir. Takashi Kitano, Japan, 1989)
  • Thursday 3 November: Sweetie (Dir. Jane Campion, Australia, 1989) & Repulsion (Dir. Roman Polanski, UK, 1965)

lfrancescutti asked:

Favourite the flash episode?

Every episode with westallen It would have to be 1x20 because holy crap! Between Joe rejecting Eddie’s proposal (still laughing about that) and Iris finding out about Barry being the flash (plus all the awesome flashbacks!) and the team confirming that Wells is indeed a lil’ evil muf*cker, like… was all so much. I think I woke up the whole neighborhood with my screams while watching it lol

Hope that answered your question!



Rosed & Hanging Pain article are ready, details coming soon

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peskypearl asked:

Pokemon AU: Manny keeps complaining about Charmander being way too cuddly with Alan. "She was supposed to be *my* birthday present!" "You didn't want to carry the Egg!"

“Had your chance, muffed it.”