mostly talk about films, yaoi and football sometimes at the same time
Joined February 2021
- Tweets8.9K
- Following231
- Followers153
- Likes19.8K
bbi retweeted
esto es el mejor take que he visto por aquí sobre sebastian la verdad lo de decir q “no era fascista” me parece insuficiente porque participa del mismo régimen aunque sea por su supervivencia y así es como se sustenta el fascismo! pero el punto es que es precisamente esa cobardía
bbi retweeted
La inteligencia se encuentra muchas veces en una curiosidad intensa pero 0 exhibida, buen sentido del humor, dedicación académica o buenas relaciones lógicas a partir de la memoria.
Por favor dejen de llamar inteligente a cualquier recital de datos curiosos para impresionar.
bbi retweeted
In LA BOLA NEGRA, Sebastián eventually kills this innocent man he has affection for to survive. Moreover, as we see in the 2017 storyline, he was too much of a coward, too ashamed, to do what that dead man asked of him. Moreover, he abandoned his daughter, and was always...
will anybody ever love me for good reasons without grievance not for sports, will anybody ever love me in every season pledge allegiance to my heart
bbi retweeted
between this and recent discourse on miasma being "too masturbatory," i think an odd resistant to evolution aftertaste is left in these critic's mouths whenever a film depicting queer experiences not just takes itself seriously, but allows itself to take up space to be grand
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
