Sarah Emerson addresses dark,
violent themes with a subversively unthreatening, cheery style.
Not exact matches
When the tales were first published in 1812, they were met
with fierce criticism because they were too
violent, sexual, and «adult
themed» to be marketed to children.
Following the exploits of the Paris police department's «child protection unit,» Polisse (which screened early on) helped to establish this year's Croisette - spanning
theme of children in peril, which could be found to varying extents in fellow Competition entries Michael (kidnapping and pedophilia), Lynne Ramsay's We Need to Talk About Kevin (teenage sociopathy), Aki Kaurismäki's universally admired Le Havre (illegal immigration), and the Dardenne Brothers» Grand Jury Prize co-winner The Kid
with a Bike (child abandonment); in the Directors» Fortnight entry Play (bullying); and in just about every film at the 50th - anniversary edition of the Critics» Week, from French actress - director Valérie Donzelli's opening - night Declaration of War (pediatric cancer) to Israeli actress - director Hagar Ben Asher's The Slut (pedophilia again), the fact - based 17 Girls (teen pregnancy), and the profoundly disturbing Snowtown, which recalled Henry: Portrait of a Serial Killer in its verité sketch of Australian serial killer John Bunting, who lured local youths into aiding and abetting his
violent crimes throughout the Nineties.
Home Alone collides
with Michael Haneke's Funny Games in this twisted Christmas -
themed U.S. horror - comedy when a garden - variety suburban babysitting gig turns
violent....
Ithaca (PG for mature
themes, smoking and a
violent image) Meg Ryan makes her directorial debut
with this adaptation of The Human Comedy, William Saroyan's Pulitzer Prize - winning novel, set in 1942, revolving around a 14 year - old's (Alex Neustaedter) attempt to provide for his widowed mother (Ryan) and siblings (Spencer Howell and Christine Nelson) after his older brother (Jack Quaid) goes off to fight in World War II.
(In Spanish
with subtitles) Persepolis (PG - 13 for sexual references, profanity, mature
themes,
violent images and brief drug use) Feminist animated adventure, set at the dawn of the Iranian revolution in the late seventies, chronicles the resistance to the oppressive, fundamentalist Islamic regime displayed by a defiant young girl (Chiara Mastroianni) followed from the age of 9 to 24.
(In Spanish
with subtitles) Marley (PG - 13 for
violent images, mature
themes and incessant cannabis consumption) Reverential biopic chronicling the musical career and spiritual philosophy of Bob Marley (1945 - 1981), the lead singer / songwriter / guitarist of The Wailers, the legendary Rastafarian reggae group from the island of Jamaica.
The relationship between these two old fighters
with a shared
violent past recedes into the background of the largely episodic narrative; among the twisted reflections they encounter are a grieving frontierswoman (Rosamund Pike) and a condemned murderer (Ben Foster) who relishes underlining the film's
themes.
In short, the movie starts
with Thor chained up in the lair of a fire demon named Surtur and ends on Asgard
with Thor, his adoptive brother Loki (Tom Hiddleston), who is more often his enemy than his friend, an Asgardian warrior known as a Valkyrie (Tessa Thompson), and the Hulk (Mark Ruffalo) battling Thor and Loki's recently freed sister Hela (Cate Blanchett, camping it up deliciously), the Goddess of Death, whose role in Asgard's conquering of the nine other realms has been largely obliterated from the official history (this is the film's one major socio - cultural
theme, and it gets a beautifully realized visualization when Hela causes a seemingly innocuous painted dome to crack open, revealing a portrait of a much darker and more
violent history underneath).
The legend goes that Verbinski wanted a budget of $ 200 million and creative freedom to aim for an R - rating, keeping in line
with the
violent tone and
themes of the game.
This is another example of a reboot, in amy ways, but the
themes Bendis played
with (and Brubaker built on later) became the ones that helped shape the decade: The purpose, value, and function of a secret identity; the thin line between hero and villain; the inability to escape inner demons; and difficulty of being heroic in a
violent, desperate world.
Bombslinger clearly doesn't take itself too seriously
with its off - the - wall
themes and its almost comical tone, despite its gritty and
violent nature.
The legend goes that Verbinski wanted a budget of $ 200 million and creative freedom to aim for an R - rating, keeping in line
with the
violent tone and
themes of the game.
This game deals
with rather
violent themes such as murder and suicide; best make sure the small kids don't play this one.
Other whole - room
themes work better, especially «The
Violent Mark», in which Franz Kline's thrilling black and white stabbings are paired
with Robert Motherwell's more sombre works.
The title of Goldin's collection, «The Ballad of Sexual Dependency,» is a reference to a song from Bertolt Brecht's «The Threepenny Opera», which deals
with themes of politics, prostitution, and
violent crime.
The
theme of the
violent enforcement of cultural conformity in these series — cutting, trimming, and stretching to fit, and the codification of human transgressions — is in constant conflict
with the singular nature of the artist's desire for truth and escape from illusions.
Children and adolescents who present
with PTSD may exhibit symptoms of confused and disordered memory about events, repetitive play
themes related to trauma, personality change, imitation of
violent behaviour and pessimistic expectations regarding survival (Hicks et al., 1993).