…

Luc Besson (the writer and director) met his second wife when she was 12. By the time she was 16 they were married and she was pregnant. In the international release of the movie, Matilda tells Leon she wants to lose her virginity to him but he rejects her. While in the original script, Leon actually has s***with Matilda.

Natalie was also a child actress in a movie called Beautiful Girls in 1996. Her whole character was the manic pixie dream girl for the main character, who was supposed to be around 30 in the movie. He was engaged but falls in love with Natalie. Nothing physical ever happens between them but it was presented as this cute thing when it was just creepy smh

Apparently the worst stuff was fake and written by some internet rando, but Besson is still an actual scumbag IRL so it doesn't matter too much

The French media industry is filled with so many shameless abusers, they'll happily throw awards and funding to people who are commonly known to have molested children, like this French-Canadian journalist got all kinds of hate mail for calling out this French author who openly bragged about abusing children in his travelogues, the auto-translate captions are surprisingly accurate here

Omg 🤢🤢🤢🤢

It was a cheeky dumb movie about a dumb man dumb family and naive young girl. Y’all finding something deeper in a s*** movie that im not. Good for you guys finding it a modern day masterpiece

Cause it's Insufferable Saturday

The breakfast club i guess

Oh I got one

St Elmo’s Fire

Emilio Estevez’s character arc: fall in love with girl at first sight, stalk her, threaten to beat up her female roommate to give up her location, follow her to secluded location to scream at her and her boyfriend, kiss her against her will. This was supposed to be seen as sweet

Reminds me of the Michael Jackson "You make me feel" music video. Bro was deadass running after ole girl

This video sums up a lot of the issues, but there are more that went untouched lol. So many questionable writing choices

I have never seen the movie lol I’m going off your own description of it

What about this

That’s interesting, the idea of art outliving the problems that contributed to its making sounds a whole lot like “the ends justifying the means.” I certainly disagree but your viewpoint is one that has endured across time, for better and worse

edit: though I think ‘progressive’ discourse, for all its faults, is certainly chipping away at the idea of art positioned in this ‘transcendent’ way.

“The ends justifying the means” I think is a bit of a divergence from what I’m getting at. My point is there’s plenty of ancient art in which we have no negative outside context to apply to it because there simply was none to be shared when it was produced. The more distance between a piece and the emotions and details that surrounds it allows it to become truly transcendent. I’m not sure “progressive” discourse would be a positive in this way if it’s essentially circling back around to a conservative framing of art as an object in which to be poked and probed for its inherent universal flaws. I think I would fall in line with more postmodern thinkers on this subject.

American History X is pretty problematic. Even though I like it (as a black man) the ending was kinda like you do the right thing and get f***ed over and in a deleted scene Ed shaved his head again at the end. Reverting back to his old Nazi ways. Absolutely horrible, but also I’m sure s*** like that really happen

You can poke for flaws while also appreciating it tho. There are movies I like that I’d also call problematic. And then stuff like birth of a nation or gone w the wind where, while recognizing the technological advancements or cultural impacts, would probably never have enough distance for me and plenty of others, I think, to ever see as transcending their context. Idk if that’s conservative. But I suppose that shows the subjective nature of transcendence

Gone With The Wind easily transcends its context for me, but Birth of a Nation is significantly more tricky. I just don’t evaluate film in this way but I respect you if you do as long as you don’t deride me for not. And in terms of distance—I’m not even thinking of our life times. We tend to think in this whig historical mentality where we’re currently closer in conception to reality and how it ought to be understood and that the metrics in which we’re applying to it are more “just” or closer to truth. It’s totally possible that within a century or even just a decade these frames in which we’re retroactively applying will no longer be applicable and that they won’t necessarily continue moving in a seemingly linear direction. There’s old academic conceptions of these things that could have a resurgence rather than be tossed aside as less sophisticated.

Anyways I’m watching John Ford’s Wagon Master and it’s not at all problematic. It’s delightful really.

The General too just looking at your reviews. Busters character wasn't ideological, he just loved his train but yeah wish his movie wasn't rooting for the south.

holy moly I forgot about this abomination