Reviews

Netflix’s controversial Eurotrash sex franchise goes soft in 365 Days: This Day

In June 2020, when the hot and chaotic world raged with a lockdown summer, a Polish-Italian adult drama called Netflix was canceled. 365 days to its algorithm. A soft-core fantasy about yacht sex, heavy accents, and uncomfortable approval issues approached by low rents 50 shades of gray: More flashy, messier, at the same time tamed and aggressive, much more clumsy and cheesy. Obviously a terrible movie that was a smash hit. It peaked at number one on the Netflix charts, held for 10 days, and is still one of the longest runtimes I’ve seen on the service.

Now we have a sequel 365 days: today, more sex (or more participants), more rumination, more expensive cars and clothes, more unintentional comedy, much less intrigue, and the same number of visible genitals (0). Hard to believe, but worse than the first movie. But it’s easier because the ugly side of the first movie has been softened a lot. That’s a good thing – isn’t it? Well, it depends on why someone was looking at it in the first place. To isolate this, you will have to revisit the original.

Based on the first in a trilogy of erotic novels by Polish author Blanka Lipińska, 365 days Laura (Anna-Maria Sieklucka), a young woman traveling from Warsaw to Sicily, finds her there and is immediately kidnapped by an evil, shattered, lustful rich mafia descendant, Massimo (Michele Morrone). Massimo has been obsessed with Laura ever since he found Laura with binoculars on the beach the day his father was murdered and nearly killed himself. (The film doesn’t take the time to investigate why a bullet that pierced his father’s body would hold Massimo’s enduring erotic responsibility. imposing.)

Image: Netflix

Massimo says he will keep Laura captive for 365 days, enough time for Laura to love him. But he promises not to rape her, though he is used to her longing for her and taking what she wants. Really gentleman. Burning Laura vehemently criticized him during her early captivity, but her circumstances seem fearlessly demanding him. At the risk of spoilers, before 365 days are over, they act amicably in a series of very lively and surprisingly vanilla sex scenes.

This bizarre and unsettling arrangement sparked much conversation at the time. The initial scene in which Massimo silently asks for and receives oral sex from one of the staff is decisively reminiscent of sexual assault. The soft, largely kinky character of the rest of the naughty is still colored by the obsession inherent in the film’s premise. Based on a novel by a woman, the film is co-directed and written by a woman, but the male gaze dominates both the narrative and the sensual presence of the camera.

Abduction as a female sex fantasy, established through a complex level of control and consent, is too large and a tricky subject to cover in this review. What 365 days It creates a kind of aesthetic hideout for this fantasy. Skinny characters, poor acting, an absurdly structured storyline, music video directing, even some blatant sex, 365 days Porn, but not. It has neither the emotional stakes of real drama nor the stigma of real trash. You can laugh about it. (Perhaps that also explains why people see things like this, even when they’re right next to explicit, unsimulated sex like Gaspar Noé’s. loveIt’s been on Netflix for a while.)

All these traits are shared in the sequel. 365 days: today, except for the one that made the first movie unsettling, but gave teeth (almost shaky). Based on Lipińska’s second book, on this day Select where the first movie left off. In one of those clumsy twists and clumsy and pointless omissions that are the unfortunate trademarks of Barbara Białowąs and director Tomasz Mandes, 365 daysCliff hanger ending brushed aside. It’s Laura and Massimo’s wedding anniversary!

After cutting the bones, Laura lost the child she was giving birth to at the end of the first movie, but she didn’t care. She shaves more bones. Massimo still maintains a low profile and control, but now in the context of a trophy wife and a “normal” mafia marriage – and always has bones. Laura’s best friend Olga (Magdalena Lamparska, charming, talkative, and once again the most brilliant actress) teams up with Massimo’s right-hand man Domenico (Otar Saralidze) to have sex with her.

Laura (Anna-Maria Sieklucka) in 365 Days: This Day

Image: Netflix

Otherwise, nothing happens in the first half of this movie. Wasting the narrative tension of the first film without rushing to make your own movie without rushing, on this day It starts with a lax and redundant framework for fantasy sex. In the second half, telenovela-level melodrama reluctantly boils over. Massimo’s ex-lover has evil plans, Massimo has an unspoken family, and Laura visits Laura, a mysterious and handsome gardener Nacho, wearing a hat that literally reads ‘Dick’. It’s pretty stupid in an almost lovely way, but it’s handled so crudely that it can still be boring.

365 days: today We often fall into the languid haze of rolling slow-motion montages that can’t tell the difference between sex scenes, shopping scenes, supercar scenes, and hearty family dinners. Wealth porn is just as popular as adult porn. Everything is covered with a carpet of deaf Europop, sung in part by Morrone himself. (Option 2 part: “I’m a little crazy / I’ll drive you like Rambo.”)

demeaning the problematic premise of the first film, on this day It’s easier than enjoying a guilt-free camp. There are moments of mature, dry renunciation that are intentional or (more likely) not. White Bride Lamborghini. Then the honeymoon game of sex golf where Laura Pole dances on the green flag Spreading her legs to invite Massimo to putt. Gold shackles engraved with “Fuck Me”. A special display of spectacles as Massimo and Laura hide their cross-shaped eyebrows, clogged frowns, and distorted sex faces in increasingly extravagantly arranged arrays of tinted glass. (Talk about about 50 shades.)

There is no such thing as reality here and there is no such thing as real sex. Not much sex in the last 30 minutes. Because the storyline literally affects the business and the inevitable third movie sets a seemingly negligible ending. There are no stakes, and there is little to be aggressive about, except for anything related to the arts and crafts of the film. It is interesting. It’s sparkling, it’s a fantasy Save. soft.

365 days: today It’s streaming on Netflix right now.


More information

Netflix’s controversial Eurotrash sex franchise goes soft in 365 Days: This Day

In June 2020, as a hot-and-bothered world fretted through a lockdown summer, Netflix slipped a Polish-Italian erotic drama called 365 Days into its algorithm. A softcore fantasy of yacht sex, thick accents, and troubling consent issues, it came across as a low-rent Fifty Shades of Grey: flashier, trashier, simultaneously tamer and more offensive, and much more inept and cheesy. An unequivocally terrible film, it was also an enormous hit. It went straight to number one in Netflix’s chart and notched up 10 days there, still one of the longest runs the service has seen.
Now we have a sequel, 365 Days: This Day, which features more sex (or at least more participants), more brooding, more expensive cars and clothes, more unintentional comedy, even less plot, and the same number of visible penises (zero). As difficult as it might be to believe, it’s even worse than the first movie. But it goes down easier, because much of the first film’s ugly side has been smoothed away. That’s a good thing — isn’t it? Well, that depends on why anyone was watching in the first place. To pick that apart, we need to revisit the original.
Based on the first of a trilogy of erotic novels by Polish author Blanka Lipińska, 365 Days follows a young woman, Laura (Anna-Maria Sieklucka) from Warsaw to Sicily, where she’s spotted and promptly kidnapped by Massimo (Michele Morrone), a glowering, chiseled, obscenely rich Mafia scion. It turns out Massimo has been obsessed with Laura since he observed her on a beach, through binoculars, the day his father was assassinated and he himself almost died. (The film doesn’t take time to explore why a bullet passing through his father’s body and into his own would carry such a lingering erotic charge for Massimo, but wow.)

Image: Netflix
Massimo says he will keep Laura captive for 365 days, enough time for her to fall in love with him. But while he desperately wants her and he’s used to taking whatever he wants, he promises to refrain from raping her. What a gentleman. The fiery Laura blazes back at him throughout her early captivity, but without the horror her situation would seem to demand. At the risk of spoilers, before the 365 days are up, they’re consensually going at it in a series of very vigorous, surprisingly vanilla sex scenes.
This grotesque, disquieting setup sparked a lot of conversation at the time. An early scene where Massimo wordlessly demands and receives oral sex from one of his employees carries a distinctly unpleasant flavor of sexual violence. The bland and largely kink-free nature of the rest of the romps is still colored by the coercion inherent in the film’s premise. The film was co-directed and co-written by women, and based on a book by a woman, but the male gaze dominates both the narrative and the camera’s leering presence.
Kidnapping as an established female sex fantasy, with its complex layers of control and consent, is too big and tricky a topic for this review. What 365 Days does is create a kind of aesthetic safe space for that fantasy. With its thin characters, bad acting, laughably threadbare plot, music-video direction, and sex that’s explicit only to a point, 365 Days is porn-but-not. It has neither the emotional stakes of actual drama, nor the stigma of actual smut. You can laugh it off. (Perhaps this also explains why people choose to watch stuff like this even when it sits right next to the full-frontal nudity and explicit unsimulated sex of something like Gaspar Noé’s Love, which was also on Netflix for a while.)
All of these qualities are shared by the sequel 365 Days: This Day, except those that made the first film troubling but gave it its (few, wobbly) teeth. Adapted from the second of Lipińska’s books, This Day picks up where the first film left off — kind of. In one of the awkward lurches and clumsy, nonsensical elisions that are the unfortunate trademark of directors Barbara Białowąs and Tomasz Mandes, 365 Days’ cliffhanger ending is unceremoniously brushed aside. Now it’s Laura and Massimo’s wedding day!
After some boning, it’s revealed that Laura lost the child she was carrying at the end of the first film, but never mind — more boning. Massimo is still withholding and controlling, but now within the context of a “normal” trophy-wife Mafia marriage — and there’s always the boning. Laura’s best friend Olga (Magdalena Lamparska, charming and garrulous, once again the standout performer by far) couples up with Massimo’s right-hand man Domenico (Otar Saralidze) to join in the boning fun.

Image: Netflix
Nothing else happens for the first half of this film. Squandering what narrative tension the first film had, and in no particular hurry to set up its own, This Day starts out as a limp, redundant frame for fantasy sex. In the second half, a telenovela-level melodrama comes to a reluctant boil. Massimo’s ex has a nefarious plan, Massimo has family he hasn’t mentioned, and Laura is visited by mysterious, hunky gardener Nacho, who wears a hat that literally says “cock” on it. It’s all very silly in a way that’s almost endearing, although it’s handled so sloppily that it can still become boring.
365 Days: This Day frequently slumps into a torpid haze of wheeling, slow-motion montages that don’t really distinguish between shots of sex, shopping, supercars, and heartwarming family dinners. The wealth-porn is as prominent as the porn-porn. There’s a carpet of numb Europop over the whole thing, some of it sung by Morrone himself. (One choice couplet: “I’m a little bit of a psycho / I’m driving you like a Lambo.”)
Defanged of the first film’s problematic premise, This Day is easier to enjoy as guilt-free camp. There are moments of ripe, tasteless abandon that are absolutely hilarious, intentionally or (more likely) not. The white bridal Lamborghini. The honeymoon game of sex golf, where Laura pole dances on the green’s flag, then spreads her legs to invite Massimo’s putt. The shackles that have “fuck me” embossed on them in gold. The extraordinary display of eyewear throughout, as Massimo and Laura mask their squinting pouts, constipated frowns, and grimacing sex faces in ever more extravagant assemblies of tinted glass. (Talk about 50 shades.)
There’s nothing like reality here, and certainly nothing like real sex. There’s isn’t much sex at all in the last half-hour, as the plot, such as it is, gets down to business and sets up an ending that the inevitable third film will probably ignore. There are no stakes, and there’s little that’s offensive, except to the art and craft of cinema. It’s funny. It’s glossy. It’s a fantasy. It’s safe. It’s soft.
365 Days: This Day is now streaming on Netflix.

#Netflixs #controversial #Eurotrash #sex #franchise #soft #Days #Day

Netflix’s controversial Eurotrash sex franchise goes soft in 365 Days: This Day

In June 2020, as a hot-and-bothered world fretted through a lockdown summer, Netflix slipped a Polish-Italian erotic drama called 365 Days into its algorithm. A softcore fantasy of yacht sex, thick accents, and troubling consent issues, it came across as a low-rent Fifty Shades of Grey: flashier, trashier, simultaneously tamer and more offensive, and much more inept and cheesy. An unequivocally terrible film, it was also an enormous hit. It went straight to number one in Netflix’s chart and notched up 10 days there, still one of the longest runs the service has seen.
Now we have a sequel, 365 Days: This Day, which features more sex (or at least more participants), more brooding, more expensive cars and clothes, more unintentional comedy, even less plot, and the same number of visible penises (zero). As difficult as it might be to believe, it’s even worse than the first movie. But it goes down easier, because much of the first film’s ugly side has been smoothed away. That’s a good thing — isn’t it? Well, that depends on why anyone was watching in the first place. To pick that apart, we need to revisit the original.
Based on the first of a trilogy of erotic novels by Polish author Blanka Lipińska, 365 Days follows a young woman, Laura (Anna-Maria Sieklucka) from Warsaw to Sicily, where she’s spotted and promptly kidnapped by Massimo (Michele Morrone), a glowering, chiseled, obscenely rich Mafia scion. It turns out Massimo has been obsessed with Laura since he observed her on a beach, through binoculars, the day his father was assassinated and he himself almost died. (The film doesn’t take time to explore why a bullet passing through his father’s body and into his own would carry such a lingering erotic charge for Massimo, but wow.)

Image: Netflix
Massimo says he will keep Laura captive for 365 days, enough time for her to fall in love with him. But while he desperately wants her and he’s used to taking whatever he wants, he promises to refrain from raping her. What a gentleman. The fiery Laura blazes back at him throughout her early captivity, but without the horror her situation would seem to demand. At the risk of spoilers, before the 365 days are up, they’re consensually going at it in a series of very vigorous, surprisingly vanilla sex scenes.
This grotesque, disquieting setup sparked a lot of conversation at the time. An early scene where Massimo wordlessly demands and receives oral sex from one of his employees carries a distinctly unpleasant flavor of sexual violence. The bland and largely kink-free nature of the rest of the romps is still colored by the coercion inherent in the film’s premise. The film was co-directed and co-written by women, and based on a book by a woman, but the male gaze dominates both the narrative and the camera’s leering presence.
Kidnapping as an established female sex fantasy, with its complex layers of control and consent, is too big and tricky a topic for this review. What 365 Days does is create a kind of aesthetic safe space for that fantasy. With its thin characters, bad acting, laughably threadbare plot, music-video direction, and sex that’s explicit only to a point, 365 Days is porn-but-not. It has neither the emotional stakes of actual drama, nor the stigma of actual smut. You can laugh it off. (Perhaps this also explains why people choose to watch stuff like this even when it sits right next to the full-frontal nudity and explicit unsimulated sex of something like Gaspar Noé’s Love, which was also on Netflix for a while.)
All of these qualities are shared by the sequel 365 Days: This Day, except those that made the first film troubling but gave it its (few, wobbly) teeth. Adapted from the second of Lipińska’s books, This Day picks up where the first film left off — kind of. In one of the awkward lurches and clumsy, nonsensical elisions that are the unfortunate trademark of directors Barbara Białowąs and Tomasz Mandes, 365 Days’ cliffhanger ending is unceremoniously brushed aside. Now it’s Laura and Massimo’s wedding day!
After some boning, it’s revealed that Laura lost the child she was carrying at the end of the first film, but never mind — more boning. Massimo is still withholding and controlling, but now within the context of a “normal” trophy-wife Mafia marriage — and there’s always the boning. Laura’s best friend Olga (Magdalena Lamparska, charming and garrulous, once again the standout performer by far) couples up with Massimo’s right-hand man Domenico (Otar Saralidze) to join in the boning fun.

Image: Netflix
Nothing else happens for the first half of this film. Squandering what narrative tension the first film had, and in no particular hurry to set up its own, This Day starts out as a limp, redundant frame for fantasy sex. In the second half, a telenovela-level melodrama comes to a reluctant boil. Massimo’s ex has a nefarious plan, Massimo has family he hasn’t mentioned, and Laura is visited by mysterious, hunky gardener Nacho, who wears a hat that literally says “cock” on it. It’s all very silly in a way that’s almost endearing, although it’s handled so sloppily that it can still become boring.
365 Days: This Day frequently slumps into a torpid haze of wheeling, slow-motion montages that don’t really distinguish between shots of sex, shopping, supercars, and heartwarming family dinners. The wealth-porn is as prominent as the porn-porn. There’s a carpet of numb Europop over the whole thing, some of it sung by Morrone himself. (One choice couplet: “I’m a little bit of a psycho / I’m driving you like a Lambo.”)
Defanged of the first film’s problematic premise, This Day is easier to enjoy as guilt-free camp. There are moments of ripe, tasteless abandon that are absolutely hilarious, intentionally or (more likely) not. The white bridal Lamborghini. The honeymoon game of sex golf, where Laura pole dances on the green’s flag, then spreads her legs to invite Massimo’s putt. The shackles that have “fuck me” embossed on them in gold. The extraordinary display of eyewear throughout, as Massimo and Laura mask their squinting pouts, constipated frowns, and grimacing sex faces in ever more extravagant assemblies of tinted glass. (Talk about 50 shades.)
There’s nothing like reality here, and certainly nothing like real sex. There’s isn’t much sex at all in the last half-hour, as the plot, such as it is, gets down to business and sets up an ending that the inevitable third film will probably ignore. There are no stakes, and there’s little that’s offensive, except to the art and craft of cinema. It’s funny. It’s glossy. It’s a fantasy. It’s safe. It’s soft.
365 Days: This Day is now streaming on Netflix.

#Netflixs #controversial #Eurotrash #sex #franchise #soft #Days #Day


Synthetic: Vik News

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I'm Do Thuy, passionate about creativity, blogging every day is what I'm doing. It's really what I love. Follow me for useful knowledge about society, community and learning.

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