Gay marriage and same - sex parenthood in
the suburban world of the film are shown as facts of modern American life, represented with a cheerful wholesomeness that could appeal to various ideological leanings.
Not exact matches
A massive asteroid is three weeks away from impact with Earth (a TV - news voiceover at the start
of the
film describes the failure
of an Armageddon - like space mission to obliterate the thing), and the
world — or at least Southern California subbing for
suburban New Jersey — copes, or doesn't, with imminent demise.
John Cameron Mitchell, director
of the acclaimed
films Hedwig and the Angry Inch and Shortbus takes us to an exotic and unusual
world:
suburban London in the late 70s.
So when AI moves away from the placid confines
of the
suburban Swinton home and into the wild and woolly
world of such locales as the neon - drenched, hedonistic urban center known as Rouge City or — in the
film's most stunning sight — a Manhattan that is all but completely submerged in water, Osment's David remains a captivating companion on an increasingly strange and surreal journey.
In these works, everyday objects take on uncanny properties, as in Two Holes
of Water No. 3, 1966, where
suburban station wagons wrapped in plastic become mobile TV and
film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the
world onstage.