Whore video chat

To express a purely subjective judgement, however, I feel compelled to disagree with almost every other review posted here and say to people: "Don't watch it; it's a waste of hours of your time that will just leave you feeling rather sick and angry." And by that I don't mean "sick and angry" about "the human condition" or anything so general and profound as that, because that is exactly the line that most critics have adopted in their fulsome praise of the film - "an ordeal to watch in its ruthless dissection of our emotional cowardice and cruelty" and so on - and, if it really managed to put across a universally or even broadly relevant message of this sort, then the director would have good reason to be satisfied with himself, however pessimistic his conclusions may be.

My beef with the film is rather that I don't see this hours-long record of empty vanity and petty treachery as being justified or excused by any GENERALLY relevant message at all.

See full summary » "Out 1" is a very precise picture of post May 1968 malaise - when Utopian dreams of a new society had crashed and burned, radical terrorism was starting to emerge in unlikely places and a ...

See full summary » A lonely widowed housewife does her daily chores, takes care of her apartment where she lives with her teenage son, and turns the occasional trick to make ends meet.

The problem, however, is that the director is clearly convinced - and appears to have succeeded in convincing generations of critics - that Alexander, Veronika and Marie are somehow representative of human beings in general and of the limits of human beings' emotional capabilities.

This latter idea, however, is arrant and offensive nonsense.

All three main characters are deeply morally unattractive individuals: Alexandre to the greatest degree, of course, because we see by far the most of him and because he seldom shuts up for more than thirty seconds; Marie perhaps to the least degree, because we see the least of her.

Alexandre's affected and pretentious monologues have a kind of amusement value, of course, but the amusement wears thin as one comes more and more clearly to realize that Jean-Pierre Léaud is most likely not even acting and that, with absurd remarks like "un homme beau comme un film de Nicholas Ray", he really was just reproducing word-for-word opinions that were accepted as authentic and profound by the milieu in which he, along with the director Eustache, had been living for about ten years by the time of the making of the film.

As I say, if "La Maman et La Putain" is intended to be nothing more nor other than a portrait of Alexandre, Veronika and Marie, three individuals whom any even halfway decent person would never admit into their company let alone their home, then I suppose there is a kind of legitimacy in praising the director for being "unflinching" (though why one should even feel like "flinching" once one had consciously opted to create such thoroughly repellent characters to filmically observe I can't imagine).Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, ...See full summary » In Paris, the pedantic Alexandre lives with his mate Marie in her apartment, an open relationship. This foreigner incites hostility and jealousy among them, and he is insulted as a "... The father, Ben Nicholson, has an attractive young wife, Katherine, and two sons by a ... After serving in Viet Nam, he returns to his home town of Munich to eliminate a few problem crooks for three renegade cops. See full summary » Unusual gangster story, in which a small-time pimp Franz, who is torn between his mistress and Bruno the gangster sent after him by the syndicate that he has refused to join. See full summary » Jorgos, a migrant worker from Greece, joins a group of young people in Munich usually hanging around.

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Alexandre learns that Veronika is a promiscuous woman that loves to shag and introduces her to Marie.

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