The Disney - owned network has rejected the trailer for the Cate Blanchett - starring lesbian drama Carol, thanks to
a nude scene between Blanchett and co-star Rooney Mara.
Not exact matches
For a sex
scene, he walks around naked — with only sock covering his penis — and, in
between bouts of insulting his leading actress» looks, orders the cinematographer to keep the camera focused on his
nude butt.
And speaking of gratuitous sex
scenes, one happens
between Banderas and a kinky waitress (a very game and beautiful Autumn Reeser) that has absolutely nothing to do with the movie but puts two
nude actors through eye - catching gymnastics for several minutes.
It's hard to look at the performances of Bardem, Skarsgaard, Quaid (The Ice Harvest, Brokeback Mountain), and, especially in the last half, Portman (whose first on - screen
nude scenes have generated some buzz, though I should warn the perverts that they come during moments of nearly unwatchable torture), and not think Forman is treading a fine line
between misery and mirth, devilishly seeing the folly of the the beliefs of those in power at the time, while also not afraid to show the seriousness, and deadliness, of their actions.
Director Anthony Perkins originally wanted Jeff Fahey to be completely
nude in the foreplay
scene between Duke and Red, but Fahey felt too uncomfortable being completely
nude on camera, so he was allowed to hold two lamps to partially cover himself.
Her Tereza is the film's stabilizing force, whereas Lena Olin's Sabina is an icon of bowler - hatted libertinage; in one epochal
scene, Tereza gets Sabina to pose for some
nude photographs, and something subterranean stirs
between these two very different women.
Highlights include an amusing anecdote about two elderly women's unexpected response to the
nude wrestling
scene, and a moving comparison
between the manner of Oliver Reed's death in Malta while filming Gladiator and Gerald Crich's lonely death in the Alpine snow.
With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely
between figuration and abstraction, producing geometric «Colour Charts», bold, gestural abstractions, and «Photo Paintings» of anything from
nudes, flowers, and cars to landscapes, architecture, and
scenes from Nazi history.
The superimposition of the different images creates fascinating «sandwiches»: a surreal fusion
between reality and imagination, in which
scenes of everyday Soviet life merge with unexpected landscapes and erotic female
nudes.
A cigar sits assertively
between his middle and index fingers, emitting a plume of smoke that seeps across the
scene like the beam of a flashlight, its haze illuminating the
nude woman reclining in the pool outside.