Ugh. Hmm, sounds like Lars Von Trier Syndrome.
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I’m hoping not, but could be the case. Neither film is anywhere near as misogynistic as Antichrist, I will say. I think he’s just really into raw, unchecked emotion in his films and in showing violence in a pretty accurate way (kind of like Ben Wheatley in that).
I think I need to see what he does next before I really decide what’s going on with his depictions of women.
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I haven’t seen it, but I expect it’s the usual trope of the stoic man, expressing little outward emotion except violence, versus the emotionally expressive woman. Not to say there isn’t some truth in it. We tend to behave publicly as our culture teaches we should.
See: any TV police series involving the death of a child.
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Which? Hereditary or Midsommar? I didn’t find that to be the case in Hereditary, as the son is fairly emotionally expressive in much of the film. The father is somewhat distant… same with the boyfriend in Midsommar, but other men do express emotions. I didn’t find it quite that cut and dry. It was just the two grief scenes struck me as very similar.
Again, I think I need to see more of his work to really decide on that.
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It has Ian Dury as a pyromaniac percussionist exiled in Hamburg.
What more do you need?
I have no idea about its availability; my copy was recorded on VHS when it was on TV sometime in the last millenium, recently digitized.
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Therefore:
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Anyone watching good movies? I saw Suddenly, with Frank Sinatra as a wanna be assassin. Good stuff! Despite some grating sexistm. It’s on YouTube.
Haven’t actually tried to find High School Hellcats yet. 
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Think that Ohio protest photo looked like a zombie movie? Zombie movie directors think so, too
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Hey @hecep, I remember you crowing (or maybe owling) about Sally Hawkins. Just watched A Brilliant Young Mind, have you seen it? Kind of overly sweet script (which was actually a good escape for a bit from Today’s Dark Times), but she was again fantastic in it.
Title in England is x + y
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Most certainly, yes! We gave a hoot for it and wished there had been more of her in it. The last thing we saw her in was Godzilla, King of the Monsters, (all monster vs. monster thrills… but with very silly dialogue and situations, really) but I was actually more pissed off that they killed her off from that franchise, and very, very early in the film; it actually saddened me, to be honest. Fortunately, she’s been in a surprising number of other films and we’re still trying to catch up. Several months ago, we watched Maudie (2016); if you haven’t seen that one yet, then you’re in for a real treat. She’s brilliant in it. So unafraid to take on tough roles.
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But for a couple of very short scenes in a hallway, and a very blurry second unit shot of people out on a street, all the action takes place in a parlor in Hitchcock’s Dial M for Murder. I’m not ‘film buff’ enough to know if Hollywood at that time was still filming adaptations of stage plays as if the film version was also stuck on a stage.
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Hmmm… Are you sure you’re not thinking of Rope? Dial M for Murder is pretty stagebound, but it has at least one other scene outside the parlor, Ray Milland goes to a party from which he has to call his flat at a specific time as part of the plan.
There’s also the murder trial, but it is so stylized (and brief) as to practically be taking place nowhere.
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Nope. DMFM. Yes, there was that party scene (and a short shot on a pier and the court sentencing). 
My point is that the parlor takes up the bulk of the screen time, ~99% if I had to pull a number from my nether region. I’ve seen Rope and yes, it’s stage-bound. The control freak in Hitchcock!
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