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**_Flawed but has merit_** > _Female sexuality, I think's a huge subject that we don't get to delve into that much and I was really interested in showing that on screen. It's something you always get to see, where the man is the instigator of all the sexual relationships and romances. And I wanted the female in this to be who's going after what she wanted and was being very direct and proactive about that. To me, that's what I have seen in many young women, they are very strong-willed and they have their own wants and I thought that would be an interesting angle for it; that we haven't seen_ _much of it._ - Aoife McArdle; "'I wanted to make a film that was visceral and dangerous and had a woman at the centre'" (Aoife Barry); _TheJournal.ie_ (June 24, 2018) _Kissing Candice_ is the debut feature from Northern Irish writer/director Aoife McArdle, whose career thus far has been primarily in music videos and commercials (she's probably best known for the controversial _American Psycho_-inspired video for Bryan Ferry's 2014 song, "Loop De Li", and the truncated short film for U2's 2015 song, "Every Breaking Wave"). When a music video director moves onto features, problems can arise, and _Kissing Candice_ features many of them; the whole thing plays like a two-hour Lorde video, all deep primary colours (especially red) with no discernible diegetic source; self-congratulatory and often belaboured visual symbolism; oblique narrative justification for many of the scenes; an achronological structure with unannounced flashbacks (think Joseph Conrad's _The Secret Agent_ (1907), except not nearly as well handled), and portentous staring into the middle-distance as the actors emote at one another instead of talking. The film is especially weak in terms of narrative - the entire plot takes up no more than a half hour at most, with the rest all mood and tone. However, for all that, I rather liked it. The plot, such as it is, is actually built on an interesting enough hook. Set on an unnamed council estate in Dundalk some time after the cessation of the Troubles, Candice (Ann Skelly) is a contemplative, but rebellious youngster (the love child of Terrence Malick and Larry Clark, if you will). As the film begins, she is in the midst of an intense dream involving a young man she doesn't recognise. Several days later, she is stunned when she meets kind-hearted local gang member Jacob (Ryan Lincoln), who looks exactly like the man in her dreams. Jacob has been butting heads with increasing frequency with the gang's leader, Dermot (an excellent Conall Keating), who may or may not have been involved with the disappearance of a young boy from the estate, Caleb (Jason Cullen), who has also been featuring in Candice's recent dreams. Anyone familiar with McArdle's work will instantly see the thematic uniformity - like many of her music videos, _Kissing Candice_ depicts troubled youth, cut free from adult supervision and influence, going to extremes. And whilst McArdle proves fairly inept at handling the narrative, the film is aesthetically very well mounted, as we're literally placed within Candice's not-entirely-stable psyche from the off (the hallucinatory opening sequence is especially good in this respect). As the plot outline may suggest, there's a definite vibe of Ryan Gosling's critically reviled (but actually rather good) directorial debut _Lost River_ (2014), and McArdle is obviously influenced by Nicholas Winding Refn and, to a lesser extent, David Lynch. McArdle is clearly talented. However, it might help her career if she directs someone else's script next time, as her writing is what really lets her down here. Nevertheless, it's well acted, looks amazing, and, as debuts go, is not too bad at all.
Anne and Tom, a married nudist couple, work in a real estate office. When the agency's owner discovers that Tom is a nudist, he fires him. Unfortunately, Tom was just ready to close a big real-estate deal with Al Jenkins. Tom goes to his favorite nudist camp to take his mind off his problems and discovers that Al Jenkins is also a member of the nudist camp. Together they come up with a plan to get Tom's wife and their boss to get to the nudist camp so they can close the deal.
The leader of a small kingdom falls in love with a beautiful American girl, only to be shocked when he finds out that she's a nudist.
This and The Hot Month of August, both made in Greece, were acquired by DORIS WISHMAN for release in the United States. However, she somehow or other lost the dialogue sheets needed for dubbing the films into English. With the original dialogue a mystery, and not understanding Greek in the first place, the Grand Dame of Sexploitation simply re-invented the entire plot blissfully dubbing it away without any clue as to what was really being said, and then adding some steamy sex scenes with her own anonymous adulterers to liven things up.
Just by watching Lupe stuck at home in her robe and slippers, no one would will guess that in the 80's she was a rock star. Gone are the times of concerts, fame and success. Agoraphobia does not let her leave home. She depends entirely on Paquita, his mother, a superstitious Mexican, with a huge heart, which not only takes care of his daughter but also her teenage grandson. The problem is that Paquita is running out of time and she doesn't want to leave without getting her daughter back.
A career officer and his wife work with a police detective to uncover the truth behind their son's disappearance following his return from a tour of duty in Iraq.
In the mid-1980s, the U.S. is poised on the brink of nuclear war. This shadow looms over the residents of a small town in Kansas as they continue their daily lives. Dr. Russell Oakes maintains his busy schedule at the hospital, Denise Dahlberg prepares for her upcoming wedding, and Stephen Klein is deep in his graduate studies. When the unthinkable happens and the bombs come down, the town's residents are thrust into the horrors of nuclear winter.
Withdrawn and sensitive teen Carrie White faces taunting from classmates at school and abuse from her fanatically pious mother. When strange occurrences start happening around Carrie, she begins to suspect that she has supernatural powers.
In the arctic, as Saiva is being born, a shaman declares that she is evil and will bring harm to all who become involved with her. Saiva is cast out of her tribe of herders and grows up to live a nomadic existence with Anja, a young woman she adopts as an infant. Then Loki, an injured and starving soldier, stumbles into their isolated lives. The women nurse him back to health, but treachery, violence and doom await them all.
Between Munich and Seville, the destinies of sixteen characters intertwine and intersect, missing each other or colliding head-on. They are all, without knowing it, at a pivotal moment in their lives...
When a younger girl called Emily Rose dies, everyone puts blame on the exorcism which was performed on her by Father Moore prior to her death. The priest is arrested on suspicion of murder. The trial begins with lawyer Erin Bruner representing Moore, but it is not going to be easy, as no one wants to believe what Father Moore says is true.