In a poor working class London home Penny's love for her partner, taxi-driver Phil, has run dry, but when an unexpected tragedy occurs, they and their local community are brought together, and they rediscover their love.
Set in the 1880s, the story of how, during a creative dry spell, the partnership of the legendary musical/theatrical writers Gilbert and Sullivan almost dissolves, before they turn it all around and write the Mikado.
Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.Written by
John Hartnup <firstname.lastname@example.org>
A modern day Diogenes. Then the parallel to an ancient Greek philosopher set in London early 90s seems right, as this embodiment of the stubborn unwieldy iconoclast who wars you in semantics. Just look at his phenotype; Leigh obsesses over his startling close-ups. He's completely numb in how he dismantles. Perhaps it's why he does it is to provoke others into teaching him about himself with comebacks of their own; he savors confronting as real living. "Don't waste your life." It's too late. He reacts to her surprise he's 27 with his grizzly appearance. He is constantly horrified by 'time.' The cinema in this is his loveability compared to his words. How the film contrasts him with the malicious sociopath is to make the distinction between the two. They are in fact brothers and different outcomes in pain. His obsession with religious iconography and prophecies anticipate the 21st century that will make this film mighty indeed. See how that man's faith was the future, holding a photo not of Jesus, but a shack completely away from civilization. Then different primitivism is salvation not Naked's A.I. future which would be much like his job: comfortable and standstill and hopeless. Evolution evolving as a paradox, as it inevitably leads to 'no evolution' being some collective retirement. On the other end of that though. Transhumanists know streamlining and AI fulfill every equation until every corner of the universe is woke. Then it's a paranoia of the individual and its consequence. That is not the dearth of society but the consequence of thriving. They are already in ruins against it, yet cannot hope to even put it into words. Yet they know. The posters, megadeath, therapy, reflect this all as scrambles of Jungian screaming. As modern day hieroglyphics. The film is the primitivism of individualism within the late-stage capitalism and transhumanist future--except lives have to be lived even as the -something- is brought in. A Generation X Jesus was my favorite remark. Exactly that!
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