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Online [Free Watch] Full Movie Friend Request (2016)

Friend Request (2016)

Release : 2016-01-07
Country : Germany,South Africa
Language : English
Runtime : 92
Genre : Horror,Thriller

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Watch Friend Request Full Movie Online Free. Movie ‘Friend Request’ was released in 2016-01-07 in genre Horror,Thriller.
Enjoying college life as a popular student, Laura shares everything with her more than 800 friends on Facebook. But one day, after accepting a friend request from a social outcast named Marina, Laura’s life is cursed…

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Radical Christians Pick Fight Over Cookies

Radical Homosexuals Pick Fight Over Cookies?

Dear Elaine,

Heather Browning just wanted cookies.  No big deal right?

She asked “Just Cookies” of Indianapolis to bake them for a special event.

But she was refused service.

You see, upon learning that Heather’s order was for gay pride “rainbow” frosted cookies destined to be party favors at the Radical Homosexual “National Coming Out Day” event planned the next week at Indiana University-Purdue University Indianapolis just Cookies decided that they could not, in good conscience take the order.

You see, the owners of Just Cookies, David Stockton and his wife Lily support traditional family values and they stand by their moral beliefs.

Mr. Stockton told Heather he wasn’t willing to set a bad example for his daughters by supporting this event.

So instead of looking for a different vendor, Heather Browning is instead seeking to shut them down by having the city revoke their lease for discrimination.

In reality, David and Lily Stockton simply didn’t want to participate in the indoctrination of our youth into homosexual ideology.

There are likely plenty of shops willing to bake her homosexual cookies, and some may even donate them.

But as always, the Homosexual Lobby is viewing this as an opportunity to force their beliefs on others.

The mayor’s deputy chief of staff, Robert Vane came out with a statement professing, “The mayor was certainly dismayed and wants to make it clear that a person’s values, morality and personal beliefs are absolutely not relevant to making a purchase at the City Market.”

But isn’t that the entire point?  The owners of Just Cookies are the ones being discriminated against for their “values, morality and personal beliefs.”

Requiring businesses and individuals to perform work they personally believe is immoral flies in the face of our Constitutional rights.

But in the New America envisioned by the Radical Homosexuals, churches, private organizations, and restaurants will be required to participate in activities they believe to be wrong, or face the Radical Homosexuals retribution.

We need to stop the Radical Homosexuals from forcing their lifestyle on unwilling recipients.

Please consider supporting Just Cookies and order traditional value cookies from them at (317) 634-4456.

And call the mayor of Indianapolis, Greg Ballard at (317) 327-3601 and tell him to stop trying to force homosexual cookies upon private businesses.

For the Family,

Eugene Delgaudio
Public Advocate of the U.S.

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Mae West’s Bawdy Spirit Spans the Gay 90’s

Mae West’s Bawdy Spirit Spans the Gay 90’s


ae West, the blond, diamond-studded, wisecracking, sashaying vamp from Brooklyn who lit up the stage in the 1920’s and the screen in the 30’s with a special brand of gender-bending sexuality, still defies categories and refuses to be conscripted into any one ideological army. The salty double-entendres, delivered with the drawling voice and rolling hips, have been recycled by a thousand female impersonators, but she was already there. As early as 1934 she was being called (by a writer in Vanity Fair) “the greatest female impersonator of all time.”

As writer of her own material, Mae West was as celebrated for her lines as her curves. “Come up and see me sometime” and “Beulah, peel me a grape” even made Bartlett’s “Familiar Quotations.” But as she herself said, “It isn’t what I do, but how I do it. It isn’t what I say, but how I say it, and how I look when I do it and say it.” In fact, her delivery could turn such otherwise innocuous lines as “I wouldn’t lift my veil for that guy” and “I wouldn’t let him touch me with a 10-foot pole” into censorable material. Here are some others.

“A man has more character in his face at 40 than at 20 — he has suffered longer.”

“When a woman goes wrong, men go right after her.”

“I like a man who’s good, but not too good. For the good die young, and I hate a dead one.”

“Is that a gun in your pocket, or are you just glad to see me?”

“When I’m good I’m very good, but when I’m bad, I’m better.”

“Men like women with a past — because they hope history will repeat itself.”

“It’s not the men in my life that count — it’s the life in my men.”

“It’s better to be looked over than to be overlooked.”

“I was in a tight spot, but I managed to wriggle out of it.”

“Marriage is a great institution — but I’m not ready for an institution.”

“Give a man a free hand, and he’ll try to put it all over you.”

“Between two evils I always pick the one I haven’t tried before.”

Hatcheck girl: “Goodness, what lovely diamonds.” Mae West: “Goodness had nothing to do with it, dearie.”

“I wrote the story myself. It’s all about a girl who lost her reputation and never missed it.”

Her heart, soul, figure and wardrobe belong to the Gay (18)90’s, the decade in which she was born and which serves as the backdrop for many of her films; but in her roving eye and assertive sexuality she looks forward to the androgynous role-playing of a later era. Born 100 years ago this week, on Aug. 17, 1893, she might be said to span two decades and two Zeitgeists a century apart: the Gay 90’s (hers) and the gay 90’s (ours). In honor of the centennial of her birth (she died in 1980), MCA/Universal is releasing nine of her best-known films on cassette, seven for the first time.

The late Parker Tyler, that pioneering and peerlessly witty chronicler of cinema’s sexual — and homosexual — subtexts, claimed her as the Mother Superior of Drag Queens. Yet there is something straight, sweet and womanly — even innocent — about West that escapes camp. Feminists have found her both liberating and awkward: Her frank obsession with men as both lust objects and figures of identification have made her dubious as a “sister,” but she’s talking only to us when she says life is a man’s game and “I just happen to be smart enough to play it their way.” Moreover, as the writer and producer of her Broadway shows, and the screenwriter of her films, she was a powerhouse who in 1934 knocked off the highest salary of any Hollywood star. And in blurring the lines between the biological and the culturally constructed woman, she stretches the ways in which we think about and define femininity and what it means to be a woman. As a self-parodying sex symbol, she’s not a real siren, a turn-on, but she can brag about liking sex in a way that a more conventionally desirable woman couldn’t. As such, she offers a fantasy, an imaginative projection of what a more sexually active and less romantically enslaved woman might be.

A transgressive, protean figure who both exposes and resolves the power struggle between male and female, she became a flashpoint for the moralists and guardians of public decency and is most famous now for having provoked the outrage that led to the enforcement of the Production Code, the censorship rules that governed Hollywood movie making until the 60’s. Was it the words in her 1933 films “She Done Him Wrong” and “I’m No Angel,” or was it the fact that a woman was saying them, a woman who made bad seem good and refused to honor the dichotomy between virgin and whore.

“When I’m good I’m good . . . but when I’m bad, I’m better.”

“It’s not the men in your life . . . it’s the life in your men.”

Suitor: “If only I could trust you.”

West: “You can . . . hundreds have.”

She’s a master of the triple dots. The wisecracks have a life of their own, as does the West persona. Unlike other stars, whom we think of in the context of specific films, her image, complete with body language and voice, lifts buoyantly out of celluloid into space like the inflatable life preserver that was named after her in World War II. She’s a pneumatic floozy presiding over an army of panting camp followers, a Catherine the Great from Brooklyn, a Salome who adds on the layers instead of shedding them, a Cleopatra whose infinite variety is debatable.

For years she tried to promote a film about Catherine the Great, in which she would offer a warmer and more sensual alternative to what she described as Dietrich’s “hollow-cheeked doll.” Although West finally succeeded in launching an unfunny Broadway play on the subject of the czarina, for most of her career she was in fact playing a bawdy, carnivalesque version of Catherine, surrounded by an “honor guard” of admirers. See her, as the lion-tamer in “I’m No Angel,” entering atop an elephant, wearing a white spangled jumpsuit. Looking at her now, we can’t but applaud this middle-aged woman (she was 40 when she made her first film), undisguisedly rotund, flaunting an unliposuctioned, unsiliconed body and demanding her sexual privileges!

With unshakable confidence, she seems to have hungered for the spotlight from infancy, and when she got a chance to make her song-and-dance debut at the age of 7, she took it and never stopped showing off. She was the child of immigrants — a Bavarian mother (a “corset and fashion model,” she tells us in her 1959 autobiography, “Goodness Had Nothing to Do With It”) and a pugilist Irish-English father who gave up boxing to become, successively, a livery stable owner and private detective. From him she may have inherited an extra dollop of testosterone; at any rate, she found herself in the legal ring more than once. The first show she wrote, “Sex” (which couldn’t be advertised in any New York newspaper because of the title), ran 375 performances before its author was arrested by the police, after pressure from the Society for the Suppression of Vice, and thrown into a cell (albeit a private, “‘celebrity” cell) on Welfare Island for eight days.

Corsets and boxing gloves; vaudeville and female impersonators; plump chorus girls and black dancers and singers. She drew on them all and brought her invented self to its apotheosis as Diamond Lil in the show of the same name, which was a Broadway hit, then a movie (her second) called “She Done Him Wrong.”

As the beauteous Lil, whose nude portrait presides over the Gay 90’s saloon in the Bowery that is the film’s setting, she makes the longest-delayed and most carefully anticipated entrance since Tartuffe, with every man in the bar testifying to her irresistibility before she arrives. Only Joan Crawford got away with such outrageously fawning, ego-feeding star buildups. In fact, entrances were what Mae West did best, and there are at least four in every film, each one, in a different and more lavish costume, outdazzling the one before. The fiction that a middle-aged woman is driving men wild is all in the intonation . . . and the imagination. When she enters, it’s less as a real woman than a sexual landscape unfurling before our eyes, her hills and valleys set off by jewels and furs, feathers and diamonds; a large bow below the waist, concentric circles above, marking critical parts of her anatomy the way trees and shrubbery delineate the contours of the earth.

Her singing is nothing much, a cut-rate Sophie Tucker, but her real music is in her movement, part swagger, part slither, part come hither. In “I’m No Angel,” she virtually lists across the room into the arms of a dancing man and would-be lover. As a so-called sex goddess, West makes it clear she isn’t the marrying kind, doesn’t need a protector, and that gives her freedom. She sizes up her prey like a military general — or a prizefighter — and says, as she does to Cary Grant in “She Done Him Wrong,” “You can be had.”

Grant, her delicious leading man in two films (his first lead roles), is here the head of a mission (we think) looking to save souls. In this role reversal of the Don Juan story, she’s the roue and he’s the tasty virgin who challenges her jaded appetites. In “I’m No Angel,” he plays a patrician lawyer to her carnival performer — “Tira, the million dollar beauty” — who’s angling to better herself, but not if it means compromising her heart. Preserving her Brooklyn accent (“It is kinda wearin’ on the noives,” she admits of her lion act), she is true to her outer-borough roots; but she is confident enough to become one of the swells when she gets Grant as a trophy husband.

Not only does West cross gender lines, but in the unusual collaboration with blacks that marks her career, she crosses racial ones as well. In the 1920’s she saw the shimmy in an all-“Negro” dive in Chicago and introduced it into her live show. Some of her rhythms and inflections probably came out of the black side of show business.

In “Belle of the 90’s” (1934), West stands on a balcony watching a black revival meeting, singing a blues song in counterpoint to their spiritual. In “I’m No Angel,” the film in which she utters the famous “Beulah, peel me a grape” line, there are three black maids who function as a Greek chorus, clucking and whooping with her about the ways of men, preparing her for her next sexual campaign. Her unique locution, lazy and mocking, matches theirs until we feel a bond of the powerless expressed in subversive speech patterns, the shuffling tempo and tone being a form of resistance to and rebellion against the ruling class — in this case men. Even in the end, as she embraces Grant, the cream of the jest has to be shared: “How’m I doin’, Beulah?”

As a heroine, she has more in common with the powerful women of black culture — matriarchal, anti-romantic — than the classically vulnerable white heroines who hold out for the best possible husband.

“I always did like a man with masculine supremacy,” she says to a suitor in “Belle of the 90’s” (pronouncing it ‘supreemacy’), but the trouble is, the supremacy is all hers, and it finally grows wearying. Leo McCarey directed this particular movie, and it is her most fluid, creating sympathy for other characters, showing her in a softer light; but that softness comes to seem incongruous. As the hoary plot unfolds, we are made doubly aware of the degree to which she insists on being smarter, tougher, handsomer than anyone around. Most of her movies, Victorian melodramas with mustachioed villains, are never far from tedium when she’s not onstage, and they grow more tedious and desperate as the 1930’s progress.

Like many of the more sophisticated performers of the decade — Garbo and Dietrich, Katharine Hepburn, even Astaire and Rogers — she eventually fell victim to changing tastes and the American public’s increased resistance to the highfalutin ironies of stars who came to be tagged as box-office poison.

The 30’s was a decade of romantic pairs, and after Grant (and Randolph Scott in “Go West, Young Man” in 1936), West never teamed up with anyone on her level. Her outing with W. C. Fields in “My Little Chickadee” in 1940 was a comic idea that went awry: The sardonic loser he plays is funnier and more sympathetic than her eternal winner, now grown monotonous. Jean Harlow, platinum blond, smart-talking and lovably sluttish, and thus the 30’s star who most resembled her, teamed up with the likes of Gable and Powell and proved herself against such stunning rivals as Mary Astor and Myrna Loy, while West, never one to share the stage with another female beauty, surrounded herself with increasingly numerous bevies of musclemen. With no rivals and no visual competition, male or female, with no plausibility on a realistic level, her films were too fragile as narrative conceits for the plainer appetites of the domestic audience.

In the 70’s, in what became a truly grotesque parody of a parody, she made “Myra Breckenridge” and “Sextette” at a time when she was much too old and her gay constituency had become more explicit and obtrusive. These unfortunate valedictory films, combined with her waning power in the 30’s, may explain why she’s more a figure of speech — in both senses of the word — than a beloved movie memory.

Molly Haskell is the author of “From Reverence to Rape: The Treatment of Women in the Movies.”

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Late Night With Jesus

I woke up last night to the sound of laughing and realized I’d fallen asleep with the TV on. It was 3 AM and I knew it was Jon Stewart but I had to fumble around for my glasses to see who his guest was. Unbelievable! It was Jesus, in his robe and all. His nose was bigger than I thought, his skin a lot darker, but his eyes were more piercing than I’d ever imagined. It was like light came out instead of going into them.
John was making some joke about both of them being Jews and Jesus, after laughing harder than I thought he would, said quite seriously to Jon, “Yeah, that’s one of the weirdest things, isn’t it?  How could they forget that?”

Jon was all over him with questions from the daily news. What was his take on the whole Mosque/Ground Zero fiasco? Jesus said he’d seen some newscasts on the story and couldn’t believe the drama and fear it was bringing up. “They want to build a public building for prayer, education and community gathering. That’s a good thing. A better thing perhaps, would be the construction of an interfaith building, There’s room for everyone, and it’s these distinctions between religions that’s causing all the problems in the first place.”

Jon looked incredulous. “An interfaith building??”

“Yes, a multi-tasking mosque, with a synagogue, chapel and meditation hall in it. A building where people of different faiths come together to make a better world together. That’s the point of religion right? It’s not about doctrine. It’s a plan for action, an opportunity to be a bigger force for good. Religion is just the map. Faith is the real adventure.”

“I don’t know….” said Stewart, making one of those funny mouth movements he does after hearing a strange idea.

Jesus pipes in, “What could be better in that spot than a building that represents, by its very structure, a coming together, a new vision that goes beyond religious borders? It’s like taking a good idea and making it great. The real prophets of the day know this. Where are their voices?  Why aren’t you interviewing them?”

“Hmm, I thought I was,” says Stewart, tapping his pencil on the desk.

“You know why you have border issues here? Because you believe the borders are real, like they MEAN something. Muslim against Christian, Mexican against American, Republican against Democrat-all those borders are made up. You put up walls to defend your ideas-and not even your OWN, but ideas passed down to you from someone else-and then you make other people look like demons. It’s no wonder this country is in a state of collapse. You don’t even get it how connected you are. You’re like five fingers on a hand who think they’re separate and make up reasons why not to get along.”

Jon sat there with his mouth open.

“You’re like children playing war games. You spend all your time, all your energy attacking the “other side” instead of realizing you need to bridge the two sides in order to get across to a higher level  of thinking. Even news shows are at war. Look at how you make fun of FOX. What light does that add to the world? All the time you could be giving to real visionaries, all the ways you could be role-modeling good behavior, showing the audience how it really WORKS to bring great and opposing minds together, and you sit there poking fun at another station. That’s really enlightened, isn’t it?”

This was the first time I’d ever seen Jon Stewart speechless. He looked like an embarrassed 6th grader. No pencil tapping now. More like a puppy with his tail between his legs.

“What in the world are you people doing? The ones who call themselves “religious” are often the most immature, the most judgmental and intolerant. What is THAT about? That’s exactly the opposite of what every religion teaches. And I mean EVERY religion,”
Jesus said, as he looked away from Stewart and spoke right to the camera.

“All the religions say two basic things,” he said, holding up his fingers in a peace sign.
“First, there is no distance between you and this one you call God. God is the creative force behind all things. It’s invisible, but you are the manifestation of it. I’m telling you, the Sistine Chapel should have been a mirror.”

The audience laughs, but Stewart stares into those deep eyes of the Nazarene.

He goes on, ” You are the eyes, the hands, the feet of that creative force. That energy is in you. It’s called your breath.” He holds up his index finger and taps on it a few times. “That’s the first thing. Don’t think there’s some man out there pulling strings. Grow up. This civilization-if you can call it that-is YOUR creation. This earth, it is not a bunch of resources to be exploited. It is not to be owned. It is your mother, the womb that you sprang from. You are its consciousness, its neural cells. The whole earth is the organism that you belong to. You did not come down to earth, you came up from earth, as I did. Its well-being is in your hands. Can you be proud of what you’re doing? Are you going to be the ones who kill it off, after all that talk about pro-life?”

Jesus was getting a little worked up, like that day he stormed through the temple turning over the merchants’ tables. Jon cut to a commercial, “And we’ll be right back to hear the 2nd basic thing from our guest tonight, ladies and gentlemen, the Jewish prophet Jesus of Nazareth. Stay tuned…”

They were laughing about something when they returned from the commercial, Jesus stretched out in his chair with his long lanky legs covered by his tunic, his sandaled feet hidden under the desk.

“OK,” Jon says, “You were saying there were two things. Let me see if I got this right. There’s no bearded guy up there on a cloud. That God we talk about and fight over is the creative force inside us and around us? It’s invisible and we’re like….(a long pause) its shadow?”

“Not exactly,” says Jesus. We’re like the physical form of the same energy. The ice cube version of water or steam. Same elements, different form. The sea and the iceberg. You’re all icebergs in the Sea of God,” he said, half-laughing at his own quaint metaphor. “But the problem is you don’t realize that underneath it all, you’re all connected. There’s just one big iceberg with a lot of tips. The truth is, you’re Creation continuing the co-creation of Itself.”

“Oh my,” says Stewart. “Let’s leave that discussion to Bill Moyers, What about number two? What’s the number two thing we’re supposed to know?”

Jesus holds up his two fingers again, tapping the tip of his middle finger. The camera zoomed in so closely on him I could see a scar on his forehead. “It’s not so much what you need to know-that’s part of the problem, all these peoples’ belief systems. That’s what gets you in trouble. No one has to believe in me to get to heaven. A…there is no heaven to get to and B, it’s not what you believe but how you act that matters. If anyone learned anything from reading that Bible they should have picked up that one. There’s 3000 references to helping the poor in there.  But let me get back…”

“Yes,” says Stewart. “The second thing..”

“The second thing is this: forget everything you ever learned in any holy book and just treat everyone like a brother and a sister. I mean that literally. If it were your brother coming across the border…your sister with cancer and no health care….your child unable to get an education….your mother with no food in her house. And even further, your brother who was gay or hated gays, your sister who was a corrupt politician, your brother who bombed an abortion clinic, your sister who got an abortion. What does it look like to love unconditionally? To bridge differences, to come together over what we can agree on? Can you get through one day without thinking you’re better or less than another? That’s the thing to strive for. That is living faithfully.”

“But…but…” says Stewart. “What about the Tea Partyers, the terrorists, what about Fox News and hate crimes?”

“If you think they are so different from you, be the opposite of what you think they are and enact that powerfully in the world. Don’t focus on who’s wrong. Just be a greater force for good.”

“Not focus on who’s wrong? How could I do my show?”

“Exactly. Remember what Gandhi said? Be the change you want to see in the world?”

“Sure. I have that quotation on my refrigerator.”

“Well, it’s time to take it further. You’re evolving as a people. You’ve come through the Dark Ages, the Middle Ages, the Renaissance, the wrongly named Period of Enlightenment. You’re now in the Information Age. You are growing your consciousness. In the physical world, you have Olympic marathon trainers who run 10 miles or more a day. They spend every waking hour in training, eating the right foods, researching the right clothing and equipment, working out, following a discipline. And in the metaphysical world, the spiritual world, you have people doing the same-they are your mystics and prophets-engaging in spiritual practice, accelerating their wisdom, expanding their consciousness, transcending judgment and radiating love into the world. You might be in that category.,.”

Stewart does one of his choking, ahem things, putting his hand over his mouth. “Out of the question,” he says frankly. “I thrive on judgment.”

“Good to know yourself. You’re all evolving at different rates. In the fall, when you look at a maple tree, you see leaves that are green, yellow, orange and red. They don’t all change at the same time. And that’s what makes life exciting. You all know different things. That’s why you need each other. Like that guy Ken Wilbur said, “You’re all right, only partly so.”

Stewart nods his head in agreement, tapping his pencil on the table again.

“But back to Gandhi. I agree with what he said, but I’ll say it a different way, just to shake things up a bit, which I love to do. By the way, it’d make a great bumper sticker:
Be the God you want to see in the world.”

“Oh-oh, sounds blasphemous to me,” says Stewart.

“You know as well as I do, every good idea starts out as a blasphemy.”

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Online [Free Watch] Full Movie Jumanji: Welcome to the Jungle (2017)

Jumanji: Welcome to the Jungle (2017)

Release : 2017-12-20
Country : United States of America
Language : English
Runtime : 0
Genre : Action,Adventure,Family

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The tables are turned as four teenagers are sucked into Jumanji’s world – pitted against rhinos, black mambas and an endless variety of jungle traps and puzzles. To survive, they’ll play as characters from the game.

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Laws Equate Sex to Love

What do banning sex toys, being fired for an off-hours affair, or losing custody of a child because of sexual orientation have in common?

They’re all the result of legal rulings, thanks in part to narrow interpretations of a 2003 U.S. Supreme Court ruling that eliminated criminal prohibitions against sodomy according to Laura Rosenbury, JD, professor of law, at Washington University in St. Louis.

In the landmark case Lawrence v. Texas, the high court ruled 6-3 that Texas’ criminal ban on sodomy between consenting adults was unconstitutional. The decision, which overturned similar laws in other states, was expected to broaden, not restrict, sexual rights.

The petitioners in Lawrence, two men who had been arrested for engaging in sodomy in a private home, were not in a committed, romantic relationship with each other. (It was a jealous partner who called police.) But since the ruling was handed down, scores of lower court cases have held that the case applies only to sexual activity involving emotional intimacy.

These subsequent rulings stem from Supreme Court Justice Anthony Kennedy’s wording of the decision, according to Rosenbury, who co-authored “Sex In and Out of Intimacy,” published in July in the Emory Law Journal.

“Justice Kennedy actually overlooked the actual facts of the case and instead reasoned that consensual sexual activity should be constitutionally protected because it’s an important part of relationships,” Rosenbury says. “And the lower courts have used that language, not the facts of the case, to protect sex only when it’s in this relationship context.”


States have long protected sexual activity only when it serves the states’ own interests, typically marriage and procreation. While Lawrence has reined in that effort in some cases, the ruling has reinforced the link between sex and relationships in others by suggesting the protection of sexual activity should occur only in long-lasting, intimate associations.

“States used to be much more coercive, punishing sex outside of marriage, and have gradually become less coercive but they still maintain this idea that sex is only valuable in relationships,” Rosenbury says. “We’re trying to highlight how such practices remain to this day, and to provide arguments for really letting go of the channeling of sex into marriage or other relationships that have the potential of long-term intimacy.”

States’ constant linking of sex and intimacy diminishes not only sex outside of relationships but also intimate relationships that are not sexual. Rosenbury’s article asks: Why shouldn’t states allow people to divide the rights and obligations currently attached to marriage among a variety of others: spouses, friends, siblings and sexual partners.

The sex-intimacy connection also reinforces gender stereotypes, assuming that that men achieve intimacy primarily through sex and that women desire intimacy over sex, according to Rosenbury.

“There have long been sexual double standards, and protecting sex only when it is in the service of intimacy does nothing to change those standards,” Rosenbury says. “Although Lawrence acknowledged that emotional intimacy need not involve women, it did nothing to disrupt the idea that sexual pleasure is a male domain.”

Rosenbury, whose research and teaching focuses on sex, family, work and other everyday issues, is committed to examining ways that the law influences seemingly private relationships and conduct. “Sex In and Out of Intimacy” is her most recent examination of that phenomenon.

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Online [Free Watch] Full Movie In Search of Fellini (2017)

In Search of Fellini (2017)

Release : 2017-09-15
Country :
Language : English
Runtime : 93
Genre : Drama,Adventure

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A shy twenty year old becomes a huge fan of Federico Fellini’s films and sets out to find the director.

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The Work (2017)

Release : 2017-03-11
Country : United States of America
Language : English
Runtime : 87
Genre : Documentary

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Set entirely inside Folsom Prison, The Work follows three men during four days of intensive group therapy with convicts, revealing an intimate and powerful portrait of authentic human transformation that transcends what we think of as rehabilitation.

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Vesuvian Graffiti

On August 24, 79 AD Mount Vesuvius buried Pompeii, Herculaneum and Stabiea under cinders and ashes, preserving the ruins with magnificent completeness – down to the fresh colors of the wall paintings.  Much of what we know about ancient Romans has been learned from excavating the ruins of Pompeii

Among the treasures preserved are aspects of the civilization that would surely have been destroyed by the followers of St. Paul had not the lava of Vesuvius preserved them. These are the famous homosexual graffiti scrawled on walls around the town.  Some of the more choice examples are (in Latin, naturally) “On this spot Actus fucked Quintius” and “Phoebus the perfume maker fucks real good.”  There are no phone numbers of course.


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Online [Free Watch] Full Movie Trophy (2017)

Trophy (2017)

Release : 2017-01-20
Country :
Language : Afrikaans,English
Runtime : 108
Genre : Documentary

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This in-depth look into the powerhouse industries of big-game hunting, breeding and wildlife conservation in the U.S. and Africa unravels the complex consequences of treating animals as commodities.

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