365 Dni, as the movie is titled in Polish, defies nearly every rule of good filmmaking. The plot, even if you allow for its queasy gender dynamics, is trite and bewildering. If Beauty and the Beast is a tale as old as time, then 365 Days feels even more outdated than the other erotic interpretation of that classic story: the Fifty Shades of Grey series. Like those films, Netflix’s erotic drama is an adaptation of a novel of the same name (the first in a best-selling trilogy by Blanka Lipinska). And like E. L. James’s latest book, the writing is so preposterous as to be comical. “I’m not a bag of potatoes that you can transfer without my permission!” Laura insists early on. Massimo, meanwhile, asks Laura not once, not twice, but three different times, “Are you lost, baby girl?” It’s never quite clear whether Laura’s directional skills improve over the course of the film, but 365 Days made me wonder whether I myself might be lost: I spent much of it confused about how Laura and Massimo even got from Point A to Point B. When they’re not having sex soundtracked by soft rock, the pair attend social functions as disparate as Mob-run nightclub parties and sun-strewn weddings.
Ultimately, though, none of this really matters. Audiences aren’t watching (and rewatching!) 365 Days for clear geographic references to Sicily, Poland, or any European locale between them. The appeal of Laura and Massimo’s dubious bond in this moment isn’t its commentary on modern romance. Time and space don’t exist in the same way during a pandemic; neither, for that matter, does dating. With current film and TV productions either stalled entirely or wrestling with how to depict intimacy in a world where touching is discouraged, the excesses of 365 Days might feel like a novelty to viewers, in addition to a chance for escapism.
Nearly every tweet or TikTok or Tumblr post about the movie obsesses over its sex scenes, which are as graphic as they are gratuitous. Before they’re even in the same room, the pair climax simultaneously, the camera cutting back and forth between scenes of Laura masturbating and Massimo receiving oral sex on a private plane. (We get it, he’s rich!) The most widely discussed of these scenes further emphasizes his wealth: Laura first concedes to Massimo’s advances after he saves her when she falls off his yacht. Thus begins a sequence so long, it includes aerial drone footage, sweeping shots of the natural vistas surrounding them, several improbable physical contortions, and, yes, the spit.
Much of the social-media response to 365 Days has focused on Morrone, who is among precious few male heartthrobs to be introduced to quarantined audiences. The actor, who also sings some of the songs on the soundtrack, has gained a massive Instagram following and a legion of fans who tweet unprintable remarks to him on a regular basis. Morrone is indeed conventionally attractive, but the zeal he’s inspired feels far more outlandish than the internet thirst that greeted Paul Mescal, who plays Connell Waldron on Hulu’s Normal People. Unlike Connell, Morrone’s Massimo functions not as an actual character but as a stand-in for a type of man—rich, attractive, domineering. He has no personality. But for Laura, and the viewers wishing to trade places with her, that matters a whole lot less than his abs.
Radhika Apte reveals real reason why she got married
Radhika Apte needs no introduction to Kollywood fans after her appearance as Superstar Rajinikanth’s wife in ‘Kabali’ directed by Pa Ranjith. The intense actress impressed with her performance of a meek girl to a mother of a grown-up and especially her reunion scene with Rajini took the audience on an emotional ride.
Radhika is happily married to her British boyfriend Benedict Taylor who is a singer and she shuttles between Mumbai and London to balance her personal and professional life.
Radhika Apte in her most recent interaction with Vikranth Massey on social media from London has admitted that she does not believe in the institution of marriage. When asked why she got married the talented performer replied that it is easier for married people to get a British visa and that’s why she and her man opted for it in 2012.
Radhika is currently chilling with Taylor in their London home during the lockdown and will soon start filming her next English film ‘Noor Inayat Khan’ in which she plays a spy based on a true story.
Jacqueline Fernandez shares picture of her being in ‘happy place’
Actor Jacqueline Fernandez is working on a secret project where she found herself in a ‘happy place’. Taking it to Instagram on Sunday, the 35-year-old actor shared a picture dressed up like a traffic police officer as she is seen laughing her heart out.
“How was everyone’s Sunday?? Fun project coming up soon! #myhappyplace,” wrote Fernandez along with a picture where she is also seen holding a coffee mug. The ‘Kick’ actor also shared a few Instagram stories of her getting ready for the upcoming project.
Recently, the actor extended gratitude to her fans after the number of Instagram followers hit the 46 million mark.
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Why an ‘active’ approach to risk modelling is key to navigating markets today
Whether investors are aiming for a cautious approach or a riskier investment profile with the potential for higher returns, Architas’ Blended Fund range is designed to match a range of investor risk appetites. And like many asset managers, Architas predominantly uses two approaches to define asset allocation within the five risk bands used in the Blended Range – strategic and tactical.
Whilst risk model provider EValue’s quantitative approach to asset allocation takes into account the long-term performance of different asset classes and the likely future performance given current valuations, along with long-term measures of volatility and correlations with other asset classes. Yet as with most systems of its kinds, EValue focuses on the long term; it is unable to analyse short-term market movements and fluctuations. So whilst it would have seen that in Q1 2020 markets fell by a record percentage before rebounding, it will not be able to factor in the cost of the coronavirus and lockdown and its impact on markets. Similarly, it is not able to consider ongoing Brexit woes, geo-political trade wars or the outcome of the US election in 2020.
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