Description: A man wakes up not knowing who he is...Little does he know that he is in for the night of his life. While being persuaded to trust a man, which he knows nothing about suddenly his life becomes a blur. His vindictive wife has all of his current flings and now he must reluctantly watch these people at the mercy of this malicious woman as she plays a kinky bondage game with all of them, however, things are not as they appear...
In the 1950s a pretty girl from Nashville named Bettie Page became the most famous model of her time -- in certain circles. Marilyn Monroe followed a nude calendar photo into Hollywood stardom, but Bettie Page's fame was within the specialist market of pin-ups and bondage photography. She was tied, trussed, handcuffed, chained and restrained while wearing high heels, nylons, garter belts, corsets and pointy brassieres, or nothing much at all, and yet her posing was so unaffected and her attitude so cheerful that she was like sunshine in the dark world of porn.
9 muses film bondage
You might expect such a film would aim for scandal. Not at all. Nor is it an attack on censorship or prudery; it doesn't defend Bettie and the pornographers she worked with, but presents them as mundane laborers in the world of sex, finding a market and supplying it. Most of Bettie's bondage photos were taken by Irving Klaw, an unremarkable New Yorker who worked with his sister Paula. "Boots and shoes, shoes and boots," Paula muses to Bettie. "They can't get enough of them. Why? I guess it takes all kinds to make a world."
I have here a 3-DVD set called "The Bettie Page Collection," in which Bettie says the bondage work was pleasant because "we were always tied up by Paula, who was gentle and didn't make the knots too tight." Except for that time she was suspended from two trees. Bunny Yeager recalls that her most popular photos featured Bettie with two cheetahs, and we see both women posing with the animals, Bettie wearing a cheetah bikini. Yeager then provides a tour of her 100 most famous models, remembering something about every single woman, including one who sewed her own posing costumes.
I looked through Bettie Page's photos and films hoping to find the same kinds of clues that must have inspired Mary Harron, who directed "The Notorious Bettie Page," and Guinevere Turner, who wrote it with her. What I see is a pretty young woman with a spontaneous smile, who seems completely at home in whatever degree of nudity or distress. As Yeager famously said, "When she's nude, she doesn't seem naked." The material doesn't even come close to later notions of hardcore, and if there were men anywhere, I missed them on fast-forward. The bondage and spanking sessions are between playful women, in short loops with titles involving sorority initiations and bad girls. Sometimes you can clearly see that the spanking is pretend, with no actual contact.
So that is the real Bettie Page. Who is this woman created by Mol, Harron and Turner? It was Harron who starred Lili Taylor in "I Shot Andy Warhol" (1996), another film about the underside of fame. Here she sees Bettie Page as a young woman not so much naive as simply incapable of depravity; she glides through the porno scene as a grateful visitor having a good time. The film suggests that after being abused as a child and gang-raped as a teenager, Bettie found a friendly refuge in the smut mills of the Klaws; on her first visit to Irving's studio she's immediately offered a sandwich.
In the Senate hearings held by Kefauver (David Straithairn), a father testifies that his son died while attempting something he may have learned from one of Klaw's films. In the movies the witnesses at such hearings are routinely mocked as puritanical hypocrites, but Harron's film feels sympathy for the father, and so do we. We also feel, on the other hand, that Irving and Paula Klaw were not so very evil, and the clients of their "photography studio" (usually professional men) are so awed by the opportunity to photograph naked women that they treat the models as goddesses.
Gretchen Mol is finally the key to the mysterious appeal of the film, to its sweetness and sadness. She plays a woman who for whatever reason does not consider her body an occasion for sin but a reason for celebration. In a haunting scene in an acting class (taught by Austin Pendleton), she is assigned to "do nothing" on the stage, and responds by absentmindedly beginning to remove her clothes. The way I read the scene, she was undressing in order to do nothing, because for Bettie Page to be dressed was to be doing something.
I ended up in Berlin with Morgana because I was working for her, shooting and editing her films. So in 2015, after she had moved to Berlin, I went and shot three films that she produced. I was working for her the entire trip and basically shot the footage for our documentary around my commitments to her. She was very gracious with letting me take up her time on top of her own shoots. It was pretty chaotic for a few weeks.
A lot of the depictions of kink/BDSM in the film are associated with moments of great personal growth or transformation, which culminate in something beautiful or revelatory, as they really did for Morgana in her personal life. She orchestrated these experiences for herself in a way that she describes as spiritual, and that is partly why we handled them that way. We also wanted to make sure that we were never conflating her personal struggles with her sexual preferences, even though they are both things that exist within her as a character.
After Morgana started making her films and going public, she found an open and loving community that could accept her fully as a human being. She was able to reconnect with her own body and sexuality. And she has been able to find a creative voice that has also inspired others around her.
For me, I see the film as the journey of an artist finding her true identity and creative voice. In the film Morgana goes through two cycles of death and rebirth. First, her conservative housewife identity is destroyed and she is reborn as the Phoenix, a beautiful but idealized version of self that is ultimately a new facade. In the second cycle, where she is literally buried (onscreen) and reborn, Morgana emerges as a more realistic and complete version of herself, having had to face issues from her past head-on. Ultimately, she learns to live with her struggles in a realistic way, while still continuing to make films and live as an artist in the world.
There, on Mount Horeb, God appeared to Moses as a burning bush, revealed to Moses his name YHWH (probably pronounced Yahweh)[41] and commanded him to return to Egypt and bring his chosen people (Israel) out of bondage and into the Promised Land (Canaan).[42][43] During the journey, God tried to kill Moses,[44] but Zipporah saved his life. Moses returned to carry out God's command, but God caused the Pharaoh to refuse, and only after God had subjected Egypt to ten plagues did Pharaoh relent. Moses led the Israelites to the border of Egypt, but there God hardened the Pharaoh's heart once more, so that he could destroy Pharaoh and his army at the Red Sea Crossing as a sign of his power to Israel and the nations.[45]
Nevertheless, like Abraham, through the assistance of God, he achieved great things and gained renown even beyond the Levant. Chief among these achievements was the freeing of his people, the Hebrews, from bondage in Egypt and leading "them to the Holy Land". He is viewed as the one who bestowed on Israel "the religious and the civil law" which gave them "honour among all nations", and which spread their fame to different parts of the world.[163][failed verification]
Benjamin Franklin, in 1788, saw the difficulties that some of the newly independent American states were having in forming a government, and proposed that until a new code of laws could be agreed to, they should be governed by "the laws of Moses", as contained in the Old Testament.[176] He justified his proposal by explaining that the laws had worked in biblical times: "The Supreme Being ... having rescued them from bondage by many miracles, performed by his servant Moses, he personally delivered to that chosen servant, in the presence of the whole nation, a constitution and code of laws for their observance."[177]
A man wakes up not knowing who he is...Little does he know that he is in for the night of his life. While being to trust a man, which he knows nothing about suddenly his life becomes a blur. His vindictive wife has all of his current flings and now he must reluctantly watch these people at the mercy of this malicious woman as she plays a kinky bondage game with all of them, however, things are not as they appear...
A truly superb bondage movie with plenty of action as our sexy dark haired damsel Laura re-lives her experience with the masked Venetian. On screen tying and gagging and a must for all bondage enthusiasts.
Film as a language in Nigeria developed on a regional level. Traditional drama troupes across the country transitioned from the stage to the screen in the 1960s and 1970s. Eventually, production localized in cities like Lagos, Onitsha and Abuja, with amateur producers saturating the market with VHS tapes and later VCDs, of films inspired by the communities in which they were marketed.
Motorcycles and tricycles are able to weave through traffic jams or bumpy backroads quicker than driving or commuting by bus at a fraction of the cost. In many Nollywood films, the ritual of hailing the okada, negotiating the fair, navigating by hand, or getting lost and enjoying the view on the back of a motorbike, is always present.
Nigerian filmmakers make it a point to include this occurrence, as it is unique to the city and immediately offers viewers a sense of place. Okada rides reflect the functional value of film and makes the experience of the place resonant.
In Nollywood pictures, the environment is a recurring theme used to filter and frame the stories of the different people who call it home. Although films are usually centered on people with plots around a moral or lesson, they also present an honest and inviting environment that gives their cinema a distinct tone. 2ff7e9595c
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