Take a look at Charles’ exploration of the themes in Gregg Araki’s latest film!ĭistrict Mined: The Gerrymandering of Contemporary Cinema It received mixed reviews from critics and audiences, currently holding a 50% rating on Rotten Tomatoes (based on 46 reviews), and a score of 50 out of 100 on Metacritic (based on 20 reviews), with most critics stating that it’s a film that has no idea what it actually wants to be about. Now, 10 years later, his second book-to-film adaptation, White Bird in a Blizzard, has been released into theaters. He also directed what I consider to be one of the best films of the 2000s, Mysterious Skin (2004), based on a novel of the same name by Scott Haim, which tells a tragic, gut-wrenching story of how the lives of two young men are traumatically affected as a result from being sexually abused by their baseball couch when they were only eight years old. A pivotal figure in the New Queer Cinema movement during the early 1990s, and highly considered to be the “bad boy” of the bunch, Araki made raw, rebellious cult movies early on in his career that were praised by some and abhorred by others, such as The Living End (1992), Totally Fucked Up (1993) and The Doom Generation (1994). When it comes to exploring themes on sexuality in film, few contemporary auteurs have been more radical, and more divisive, than Gregg Araki. The Emptiness of Days to Come: On Gender Stereotypes and Sex in White Bird in a Blizzard
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