Brown, pill, Skip

Some cool movie sex scene images:

Skip the Brown Pill

Image by cogdogblog

@dailyshoot: 2010/02/05: More fun on a Friday: Make a photo that goes with the title of a movie you've seen, interpreted any way you like! #ds82

You have to see it for yourself. This is your last chance. After this, there is no turning back.

You take the brown pill and the story ends. You wake in your bed and believe whatever you want to believe about your health. You may experience lower blood pressure, decreased triglycerides, and possible lower chances of suffering from Rheumatoid arthritis.

You take the yellow pill and you stay in Wonderland and I show you how deep the vitamin-hole goes. Your skin is healthier, you catch colds less often, and your breath is more attractive to the opposite sex.

Remember -- all I am offering is the truth, nothing more.

--key scene from The Vitamin Matrix



My sister Leslie




Image by keatssycamore

Dirty Dancing had just come out and she loved that movie. I'm proud to say that I have never seen it all the way through. I'd say I've seen about 30 minutes of it total. I've seen at least two dance scenes in their entirety (the mashed potato one and some other one they are practicing alone) and I've scene some of the family at their camp, or whatever the hell place it is that they go and I saw Swayze get in a fight. Oh and I saw the first Swayze dance scene with some non-Jennifer grey woman. But that's pretty much all. I've never really seen the romance part with Swayze and Grey and I don't really know any plot details. Is there some kind of "Dance Off" at the end of summer or something, and the winners would get to have sex with each other? But Baby's dad doesn't belive in contests. Or dancing. Or sex. Right?

January 15th: Cineaste Magazine: Jim McBride’s Pictures from Life’s Other Side & My Girlfriend’s Wedding




Image by uniondocs

The great, undersung independent filmmaker Jim McBride boasts one of the most peculiar, wide-ranging, and willfully unpredictable bodies of work in American cinema of the past several decades, encompassing a bizarre post-apocalyptic studio film (Glen and Randa), a raunchy teen sex-comedy (Hot Times), and the Richard Gere-starring remake of Godard’s Breathless, among others. But McBride’s most famous film was his debut feature, David Holzman’s Diary â€" a parody of the cinema-vérité school of documentary filmmaking, Holzman is perhaps the first ‘mockumentary’ on record, and a prescient forecast of navel-gazing first-person cinema. Which makes it all the more fascinating that the two films immediately following this debut found him embracing precisely the personal documentary genre that he parodied so brilliantly in Holzman. And as if this trajectory isn’t strange enough, these two films â€" My Girlfriend’s Wedding and Pictures From Life’s Other Side â€" happen to be neglected masterpieces of the form, frankly revealing, culturally perceptive, and inspired in their construction. In their own, more implicit way, they are every bit as aware of the issues and limitations involved with the personal documentary â€" but in shedding Holzman’s mockumentary conceit they qualify as riskier, more committed films. â€" Jed Rapfogel, Cineaste Magazine / Anthology Film Archives
Pictures from Life’s Other Side by Jim McBride
USA, 1971, 45 minutes, digital projection
The third film of McBride’s ‘documentary’ trilogy, Pictures follows Jim and Clarissa in a journey across the U.S., waiting for a baby and looking for a place to settle. Crude, witty or plain scenes of everyday life compose a moving portrait of early-70s America â€" an uncharted country, a generation with no direction home.
My Girlfriend’s Wedding by Jim McBride
1969, 60 minutes, digital projection
A fascinating profile of McBride’s English girlfriend, Clarissa Ainley. With his camera almost entirely trained on her, McBride explores Clarissa’s life and loves, her feelings about her parents and children, and documents her greencard marriage to a man she has only known for a week. However, as the film progresses, the most revealing truths are about the person behind the camera. Originally intended as a short, it’s a fascinating record of a turbulent time, and highlights the subjective nature of the filmmaking process.
“At the time I made it, I was fond of referring to it as a fiction film, because it was very much my personal idea of what Clarissa was like, and not at all an objective or truthful view.” â€"J.M.
Jed Rapfogel is an Associate Editor at Cineaste Magazine and a Film Programmer at Anthology Film Archives.
Dan Sallitt is a filmmaker and film writer living in New York. He was the film critic for the Los Angeles Reader, and his writings have appeared in the Chicago Reader, Slate, Wide Angle, Senses of Cinema, and other venues. His movies include Honeymoon (1998) and All the Ships at Sea (2004). He blogs at Thanks for the Use of the Hall.

The great, undersung independent filmmaker Jim McBride boasts one of the most peculiar, wide-ranging, and willfully unpredictable bodies of work in American cinema of the past several decades, encompassing a bizarre post-apocalyptic studio film (Glen and Randa), a raunchy teen sex-comedy (Hot Times), and the Richard Gere-starring remake of Godard’s Breathless, among others. But McBride’s most famous film was his debut feature, David Holzman’s Diary â€" a parody of the cinema-vérité school of documentary filmmaking, Holzman is perhaps the first ‘mockumentary’ on record, and a prescient forecast of navel-gazing first-person cinema. Which makes it all the more fascinating that the two films immediately following this debut found him embracing precisely the personal documentary genre that he parodied so brilliantly in Holzman. And as if this trajectory isn’t strange enough, these two films â€" My Girlfriend’s Wedding and Pictures From Life’s Other Side â€" happen to be neglected masterpieces of the form, frankly revealing, culturally perceptive, and inspired in their construction. In their own, more implicit way, they are every bit as aware of the issues and limitations involved with the personal documentary â€" but in shedding Holzman’s mockumentary conceit they qualify as riskier, more committed films. â€" Jed Rapfogel, Cineaste Magazine / Anthology Film Archives

Pictures from Life’s Other Side by Jim McBride
USA, 1971, 45 minutes, digital projection
The third film of McBride’s ‘documentary’ trilogy, Pictures follows Jim and Clarissa in a journey across the U.S., waiting for a baby and looking for a place to settle. Crude, witty or plain scenes of everyday life compose a moving portrait of early-70s America â€" an uncharted country, a generation with no direction home.

My Girlfriend’s Wedding by Jim McBride
1969, 60 minutes, digital projection
A fascinating profile of McBride’s English girlfriend, Clarissa Ainley. With his camera almost entirely trained on her, McBride explores Clarissa’s life and loves, her feelings about her parents and children, and documents her greencard marriage to a man she has only known for a week. However, as the film progresses, the most revealing truths are about the person behind the camera. Originally intended as a short, it’s a fascinating record of a turbulent time, and highlights the subjective nature of the filmmaking process.
“At the time I made it, I was fond of referring to it as a fiction film, because it was very much my personal idea of what Clarissa was like, and not at all an objective or truthful view.” â€"J.M.

Jed Rapfogel is an Associate Editor at Cineaste Magazine and a Film Programmer at Anthology Film Archives.

Dan Sallitt is a filmmaker and film writer living in New York. He was the film critic for the Los Angeles Reader, and his writings have appeared in the Chicago Reader, Slate, Wide Angle, Senses of Cinema, and other venues. His movies include Honeymoon (1998) and All the Ships at Sea (2004). He blogs at Thanks for the Use of the Hall.


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