While I was walking through Half Priced Books picking movies to watch, my brother handed me a movie. The Shining (1980) was what he handed me, stating that he had never seen it before. Surprised and excited, I bought it for him. On the car ride home I thought about horror movies, and movies in general. I had watched Fargo (1996) for the second time a couple of days ago and all I could think about was how great the atmosphere of the entire movie was. Even though the dialogue is so good, it's the snowy environment that brings it together. I think this holds true for many movies. It is the location and oddly enough, the weather during a movie that can make such a difference for the story. So many stories are based on their locations, it directs the plot. Fargo (1996) brings the feeling of isolation and a sense of harshness and reality of the plot and it makes it worse because of the conditions of living in North Dakota.
Westerns are a genre based on their locations, it is an open and freeing harshness that the ‘cowboy’ must endure that brings them into their stern nature. It is usually the people that threaten the ‘cowboy’ and his world that breaks down his and everybody else's freedom. There is a sense of patriotism and bravery in southern movies. In movies that are usually shot someplace sunny it is to depict a nostalgic sense or relatability. In The Texas Chain saw Massacre (1974) its location is mostly in the hot and dusty Texas roads. The scenes depict vile grotesque images and produces feelings of uneasiness that could only be developed from the environment. The empty homes that people have once lived in and the roads that so many pass by, no one thinks that something like that could happen to them when everything is abandoned, but it is that fact that causes them to be stranded. It works because it is familiar, the roadtrip scenes are familiar and nostalgic, they play into our sense of comfortability. Much like in The Shining (1980) does with the hotel and the mountains of Colorado.
When movies are rainy and foggy they can also be nostalgic but it also invokes mystery and can also have a bit of a thrill to them. Batman (2022) and Seven (1995) both have multiple scenes when it is raining, and in both cases are usually when important information is given. Similarly, they both have brighter scenes at the end of both movies even though their endings are neither very fulfilling or complete. It is the noir aspect of both films that make the cloudiness and rain work so well.
Anatomy of a Fall (2023), Longlegs (2024) The Holdovers (2023), and The Thing (1982) are also really good movies that have snowy environments and are really good at using the environment to the plot's advantage. Black Phone 2 (2025) also follows this during the beginning credits, but because of the dialogue and the outcome of the story it did not build on the roots that it started with, and is therefore not the best example. It goes without saying that this is an obvious observation but is still really cool and makes movies fun.
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hey this isn't so much of a prompt more of a word vomit, I can't stop thinking about Igor in the final car scene.
Like even before she climbs onto his lap, his face is just so wide eyed and vulnerable and when she initiates sex he's almost bewildered and he's just so focused on her and you can tell it's about being WITH her and not just having her body like it was with Vanya.
Like even when he tries to kiss her, i know some people are like 'its so clear she doesnt want it and he's forcing it' but i dont think it's that simple. Like you pointed out, he moves very slowly when he first tries to kiss her and I noticed when she pulls back his reaction seems to be Confusion (also when having sex your brain isnt in the same rational place as it is when you're an audience watching a movie, what's SO CLEAR to us isn't always clear to the characters)
I dunno, Id love your thoughts or even a Igor POV of that scene I'd love if you wanted x
Weirdly enough, Anon, I had someone send an ask on almost this exact same question about five minutes after you did, so I’m just going to answer you both here! (Update: it was you, twice! Thanks for letting me know!)
At some point I’ll probably end up giving the fic treatment to the car scene from Igor’s POV, but for now, I’m more than happy to just offer my humble analysis of what I think is going on.
And it’s even more heartbreaking than I originally thought.
(This got long, so I put it all under a cut.)
From the moment Ani takes off her jacket, you can just see this mixture of confusion and surprise wash over him. He dropped off her bags on the porch; he clearly thinks she’s going to be getting out of the car shortly. But as she takes off her jacket and turns directly to face him, the seductive expression she makes for men at the club now firmly in place (which is the first time in the scene she’s smiling — or close to it), he’s realizing that she plans to stay in the car for a while longer. Once she climbs in his lap, it begins to click (“Oh, she wants to make out in the car”) and he’s obviously okay with that, based on the way that he tries to move his mouth closer to hers right before and just as she releases the seat lever. By that point, it’s clear he has feelings for her and while going straight to making out may seem like a bit of a jump, there’s the hope that maybe this means she has feelings for him too. And right after his seat falls back, he gives her this disbelieving little grin, and it’s like, oh no, Igor, this is not going to be the sexy little make-out session you’re envisioning right now.
(What makes it so much worse is that she has no intention of kissing him or offering any sort of display of feelings; he’s not even going to get any kind of foreplay beside a preparatory handjob before she gets right to what she sees as the primary transactional act.)
It’s when she starts hiking up her skirt that you can see him getting confused again (even more so when she moves his hands to her ass) and then, when she goes for his waistband, you can see him shift into complete disbelief (and not in the “I can’t believe this is happening” way, but in the “what the hell is happening” way).
I imagine that some part of him wanted to know what was happening enough to stop her, but he’s a man, and a girl he likes is suddenly stroking his dick, and that’s not really a place for rational thought, you know? (Watch his hands as she’s stroking him; he can’t help himself from instinctually squeezing her ass.) He definitely understands that if he says anything or makes some kind of “hey, hold on there” protest, she might stop touching him, and he doesn’t want that to happen.
So mostly it’s a mixture of shock and pleasure as she strokes him, with him closing his eyes and burying his face in her chest as he gives in to the sensation of it. He must know something’s off, but he just doesn’t want it to stop.
Even with all that, he’s still not prepared when she pauses to get her fingers wet and then reaches back down to maneuver him inside her. Whatever he had thought might happen between them at this point, this wasn’t even in the realm of possibility. (The night before she had accused him of wanting to rape her! And now they’re having sex!)
All he can do is just stare at her, wide-eyed, or else close his eyes and just feel what she’s doing to him.
When she finally gets him positioned, she leans back (to create a little more physical — and presumably emotional — distance between them, I imagine), but he continues to look up at her, as if he can’t look away, as if the intimacy of what he thinks they’re sharing can only be expressed through this kind of intense, continual eye contact. And maybe it’s there that he starts to convince himself, despite how fucking weird and off the rails this all is, that because she’s doing this with him, it must mean something, and he must mean something to her. He wants it to be real so badly and you see that hope just shining out of him the whole time she’s moving on top of him. (In an interview I read, Yura Borisov talked about how he saw Igor as a lonely person, and I think it makes sense that Igor would be more invested — or even desperate — to hold onto a connection with Ani.)
As she quickens the pace, she throws her head up and looks away, breaking the connection. That’s when he reaches up to her face, holding it in place and bringing her eyes back to his. He wants her to look at him, to see him, to acknowledge what (he thinks) is happening between them.
And if maybe if it’s real, if the connection they’re making with their bodies is an indication of an actual connection, then he can kiss her. It’s clear he wants to kiss her — he’s been trying to since she climbed into his lap. He arches up super slowly, but clearly intent on moving his mouth closer to hers. I don’t think he’s fully registered that she’s stopped moving on top of him, or that she makes these tiny jerking motions to get out of his grasp. As you said, it’s clear to us as the audience that she’s trying to resist, but to Igor, so caught up in the pleasure of her body and — perhaps even more powerfully — the sheer desire to make this encounter into something deeper and more real, it’s not something he has the capacity to notice.
And then she squeals and pulls away and starts hitting him, and at that point the spell (such as it was for Igor) is broken. He’s completely confused at first, then focused on trying to get control of her limbs so she’ll stop attacking him. This is the girl he remembers from their first meeting, the out of control one who screamed and landed those impressive blows to his face. But like that first meeting, he doesn’t fight back, instead simply restraining her so she doesn’t do any more damage.
For a moment, they just look at each other, barely breathing, and I think it’s here that with everything stripped away, he really does see her. He’s been watching and observing her for the past two days, but now he can see how much of a front she had really been putting on, how much her confrontational bluster and attitude had been hiding. Because underneath all of that, she’s a hurt and heartbroken girl, the pain of what she’s feeling written all over her face. The life she had imagined has been ripped away from her, and the man she married and thought she loved ultimately rejected her. And Igor, even though he must have been disappointed to realize that she didn’t climb into his lap and have sex with him because she had feelings for him, clearly gets that what she’s going through at that moment matters more. She needs someone to be there for her, to accept her and acknowledge her pain.
So he pulls her into his arms — and kisses the top of her head, just fuck me up why don’t you? — and lets her feel everything she’s been keeping in. She’s just sobbing her heart out in these spasms of despair, and in the emotional gut punch of it all we don’t even notice that he’s close to crying too. As he holds her, his eyes are wet and he keeps blinking, as if to keep his own tears at bay. (I didn’t even realize this was happening until I rewatched the scene to answer this ask; it’s subtle and absolutely phenomenal acting by Yura Borisov.)
So heartbreaking. So good. I hope the Oscar voters are taking notes.
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Why does the Eric Draven (Bill Skarsgård) have inkbox looking tattoos????? Having 'good boy' with the good being scratched out does not make you look scary. And also they did not make him look intimidating, he just looks like Jared Leto's joker....Sure he had muscles and some pathetic eyeliner, but it wasnt good. The short hair is disappointing, where is the long curly hair. The design is just what those dudes who have a singluar cross earing, a few sad tattos, and buzzed hair look like. It looks like they saw the first body builder guy on tikitok and said "this is the perefect eric draven look," and went with it. The potential that the character had was destroyed in a remake.....tbh its kinda sad.
Title: Rouen Cathedral in the Evening
Artist: Claude Monet (French, 1840-1926)
Date: 1894
Genre: architectural painting
Movement: Impressionism
Medium: oil on canvas
Dimensions: 100.2 cm (39.4 in) high x 65.3 cm (25.7 in) wide
Location: Pushkin Museum of Fine Arts, Moscow
Jerry Seinfeld says that you could never do Seinfeld today but one time when I was really high I fell asleep and dreamed a new episode where Jerry came out of the closet as a trans woman and Elaine wanted to be supportive so she gifted Jerry a dress that she didn't really like but when Jerry wore the dress out she got tons of compliments and Elaine gets super pissed about it because she never got any compliments when she wore it but couldn't say anything because she didn't want anyone to call her a fake ally.
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The movie is able to capture the feelings of being alone and also having people with you at the same time. It is able to leave you with a sad taste in your mouth but also reminds you of the appreciation that should be had for living. The aesthetic is so specific and holds a nostalgia for a feeling that you have never had before. The movie examines the different kinds of loss in life, Mary being the loss of her child, Angus being the loss of connection with family, and Paul his loss for academic success. Each character is done so well, their character growth is realistic and does not end in a big shift. It would be unrealistic to have their problems naturally get better, and their problems honestly got worse. The rise and fall of the plot was natural, the cinematography of the movie is beautiful, as was the dialogue.
The feelings that Angus had are very relatable. Being the last student to be picked up or not fully fitting into a single group perfectly so you get stuck with the teachers, who are also just wanna go home, is more relatable than all the teen movies that are made (sure most is satire but it is still important to have films that students can actually relate to). I am getting sick of teen movies like Mean Girls that are just a waste of something that might be interesting that deal with students. More movies, especially about students, should be pretty and pieces of art. While school is not the best time it is not something that should be romanticized in a romcom, school is about getting an education to be successful and proud of the work that you produce, whether you go to college or not. And some of the class are dumb and irritating but that does not mean that all teachers are evil people and they should be pranked and punished by the students. It is fun to poke fun at the school system and how certain classes are but it is not something that should be mocked as much as it is. And with the newer generation being the way they are with teachers it is more important than ever for students to not be filled with the perception that everything about school is bad.
Students are people, teachers are people, the janitors that clean the school are people, the cafeteria worker is a person, and the admin (though they make bad decisions that are not always agreeable) are people. Respect others and the school….
This got a little more about a genre and not about the movie as much.... NOT PROOF READ
A little late to the party but after seeing so many Mikus in other cultures decided to do one from my own and well I’m from Pittsburgh and let me tell you our culture is road rage
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I think one of my favorite tropes (only if done well) is when a character is really messed up but only realizes it when they start liking someone. Because to really love someone you have to love yourself and understand to except the respect and care that you deserve from others. But that person is either so infatuated with themselves that they feel like it isn't enough love, or they can't love themselves enough and push the person who is giving them love away. And the character basically goes down on a spiral that changes the plot or the characters.
A lot of media I have consumed as of late has had this trope and it is honestly really interesting. The trope can an underlining theme like in challengers (Luca Guadagnino), or really big like in normal people (Sally Rooney). These are both very different but I think it's worth pointing out. Sometimes the trope is done in random romcoms and it isn't good at showing the actual emotional depth of it and how destructive it can be.
