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Kitten Night Farts

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The film plays with time to accentuate the families’ economic differences. The Bennets’ clothes are stuck in the 1790s, while Caroline Bingley wears styles from after 1800. Audiences may not detect the difference, but Bingley’s country neighbors do. At a second ball, women ditch their earth-tone dresses for dignified white gowns like the one Caroline Bingley wore to the first one. Everyone is trying to catch up with her.

(Jacqueline Durran, Costume designer)

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romanoff

“Amy’s “Cool Girl” monologue makes explicit the film’s central critique of contemporary identity. We allow ourselves to appear shallow on the surface because other people like us that way. More importantly, we do it because we have our safe refuge on the inside where we can say to ourselves, “that’s not the real me.” We “endure” subjugating our own desires to the desires of others because we believe in this refuge, but the reality is that we’re allowing our identities to be determined by someone else’s desire. There’s a fine line between compromise and self-effacement, and Amy’s critique of modern society is that we allow ourselves to be erased and replaced with someone—something—else. We are exactly what we pretend to be. The distinction between external appearances and internal reality exists so that we can maintain the illusion of being what we want to be while still enjoying our easy, comfortable lifestyles. Amy’s argument is that instead we should appear to be the best version of ourselves, because being our best—showing our best on the surface—erases the gap between internal and external identity. Amy kills the version of herself she created to please others and becomes the film’s paragon of self-realization. She throws away the Cool Girl and becomes the Gone Girl.” (source)

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fuckindiva

Female Psycopaths in Film

“Isn’t it time to acknowledge the ugly side? I’ve grown quite weary of the spunky heroines, brave rape victims, soul-searching fashionistas that stock so many books. I particularly mourn the lack of female villains — good, potent female villains. Not ill-tempered women who scheme about landing good men and better shoes (as if we had nothing more interesting to war over), not chilly WASP mothers (emotionally distant isn’t necessarily evil), not soapy vixens (merely bitchy doesn’t qualify either). I’m talking violent, wicked women. Scary women. Don’t tell me you don’t know some. The point is, women have spent so many years girl-powering ourselves — to the point of almost parodic encouragement — we’ve left no room to acknowledge our dark side. Dark sides are important. They should be nurtured like nasty black orchids.”  - Gillian Flynn
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