vitinhaoriginal

A beautiful, textured exercise in trauma in this dark and paranoid universe by Abel Ferrara.

What fantastic costume design, set design, and art direction by Veronika Rocket.

It captivated me from the beginning with the girls' dynamic looks and the glamour of the fashion, contrasting with this vibrant yet shattered city.

This spiral of madness is rich with beautiful details, combining red's hatred and lust.

More than just an accessory, her Star Model 9mm is treated as an extension of her new identity and the strength from which she derives the courage to unleash her selective fury.

A visually stimulating tale of subverting desire and societal coldness in the hunting relationship between men and women, and beautifully executed in the dissociation of a simple seamstress into an instrument of revenge.

Even someone with good intentions can have their actions distorted in this fog of hatred.

One of the best posters in history (the original launch poster), memorable music by Joe Delia, and memorable visuals at every step of this performance by Zoe Lund.

The minimalist fashion revolution of the early 1980s in response to the brilliant cocaine-fueled 1970s is beautiful in this film, full of artifacts.

It's possible to witness Thana's complete imbalance through her clothes and the coldness of her actions, as her neutrality and disconnection from femininity are lost and drowned out by her haunting thirst for revenge.

It's wonderful to note these moments when dull, pastel colors gain contrast and saturation throughout the story, reflecting the decay of the reality of the world around the protagonist.

In yet another work in Perkins's catalog, one thing remains the norm: wasted potential.

Perkins knows how to make a beautiful film and create scenes with stunning visuals, but it seems like something always haunts his films and prevents them from achieving their full splendor in a cohesive way.

While I like Longlegs, I can understand the problems many people saw in that film, which are repeated here.

There's something constantly pulling the film in opposite directions; in this case, it's a tug-of-war between dark humor and a complex and even interesting story of two brothers and abandonment.

The problem is that the humor doesn't work, and since it permeates the entire story, it constantly drags the story down.

In Longlegs, there's a clash of inspirations, but they exist within the same genre and manage to coexist somewhat more naturally.

Monkey attempts a much longer leap of combining two very distinct genres and ends up executing neither effectively.

Every creation, at the end of the day, is a military weapon.

An interpretation different enough from its original inspiration to justify its very existence.

M3GAN proves its worth as an individual work, beyond the shadow of Chucky, exploring a different fear and a different zeitgeist.

Hypertechnology and its dependence on it are perfectly represented.

The human reflex, or even naiveté, in its creations of not realizing that we are each day creating things that replace our value as individuals and our relationships with synthetic sensations and touches that only distract us from the genuine adversity that makes life captivating.

Fantastic use of budget and creativity in the special effects sector to bring such a charismatic character to life.

Are serial killers and satanism today tycoons and technology?

Beautiful costume design by Lizzy Gardner and Daniel Cruden, beautifully blending the traits of innocence with perversion.

M3GAN's constant appearance in this uncanny valley gains a beautiful highlight of her more retouched features in her preppy dress and huge bow M3GAN hides in these innocent features her monstrosity and chrome coldness.