Boy Fucking Young Girls
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Boy Fucking Young Girls
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At the start of the film, the car is a 1996 VW Golf with a Dublin registration number. When they pull up outside the house to drop Jess off, the car has changed into a 1993 model with Kildare plates. Later, when the car crashes after they run down Craig, it has changed back into the 1996 Dublin car again.
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Boy Eats Girl is the kind of film to watch when you're in a non-committal mood, something that demands only vague attention and which doesn't try to be clever. If you want a horror or a zombie movie then look elsewhere, it's neither nor does it try to be. It is a comedy, let's get it straight right now, not a zombie film. Romero's legacy to pop culture and the film industry certainly gets a good outing here, but this isn't a film to make gorehounds feel fat and happy, nor will zombie purists find anything to debate over. A lot of the characters are like those from sappy American Teen comedies but with Irish accents and in situations involving blood and throw-away limbs. Perhaps this helps: It's California Man with gore. It entertained me for the short running time (about an hour I made it) and I liked it enough to cough up £5 for it. If you give it a chance as a silly gory comedy, you may well like it too.
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By what name was Boy Eats Girl (2005) officially released in Canada in English?
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A boy declares his love for his girlfriend, only to die the same night. He is brought back to life by his mother as a flesh-craving zombie, who sires more teen undead while trying to control... Read all A boy declares his love for his girlfriend, only to die the same night. He is brought back to life by his mother as a flesh-craving zombie, who sires more teen undead while trying to control his, er, appetite for his beloved. A boy declares his love for his girlfriend, only to die the same night. He is brought back to life by his mother as a flesh-craving zombie, who sires more teen undead while trying to control his, er, appetite for his beloved.
Diggs : Do you have any special powers or anything?
Nathan : I'm stronger, I'm faster, and I don't feel pain.
Nathan : No, Diggs, I can't fucking fly!
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Very Young Girls, whose title reflects the fact that in the United States the average age of entry into prostitution is just thirteen. The film takes us into the work of a former sexually exploited youth-turned-activist named Rachel Lloyd, who started the New York City organization GEMS (Girls Educational and Mentoring Services) to help victimized young women escape their pimps and find another way of life. We meet teen aged girls at different stages of this transition. Some have been so psychologically manipulated by their pimps that they feel compelled to return. Others have successfully broken with their pasts. As we come to know these girls better, they emerge as well-rounded individuals full of unexpected laughter and insight. One chilling element the film uncovers is a videotape - confiscated by police - of two pimps recording their activities with the intent of making a reality television show. Later we see Lloyd get recognized for her work at a human rights awards ceremony shortly after the song "It's Hard Out Here for a Pimp" wins an Academy Award.
Lifestyle Japan's dark secret: Where grown men sexualise young girls
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Some Japanese men are attracted by the thought of contact with a "girl next door". Photo / Supplied
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Some Japanese men are attracted by the thought of contact with a "girl next door". Photo / Supplied
In a cramped and dark venue in a sleazy Tokyo district, dozens of middle-aged men cheer at a performer on stage: the object of their adoration is a six-year-old girl.
Decked out in make-up with ribbons in her hair, Ai is dressed like an adult, but still looks very much a child.
She is a so-called "idol" singer – common in Japan, where rights groups have complained society's sometimes permissive view of the sexualisation of young girls puts minors at risk.
It was only in 2015 that possessing child pornography was criminalised and authorities have struggled to bring the country into line with other advanced nations on the issue.
In the crowd at an idols show, Soichiro Seki, 40, says he watches young girls on stage twice a week. He insists he goes just to encourage the performers and feels no shame. But he did concede that other fans objectify them.
"[For them] coming to a concert like this and visiting a hostess club in Kabukicho are essentially the same thing," he says, referring to Tokyo's major red-light district.
Idol Tama Himeno, who has performed on stage since the age of 16, says the men attending her shows worship the performers and crave communication with young girls that they cannot get elsewhere.
Most fans are "pure", insists Himeno, now 24, although she admits she was once offered 30,000 yen ($374) for her used tights.
"Men idolising young girls is relatively accepted in Japan," said Himeno, citing the Tale of Genji, an 11th-century classic depicting a nobleman's romantic relationships with women, as well as a small girl.
For Ai's manager Hidenori Okuma, the men are attracted by the thought of contact with a "girl next door".
"Meeting and chatting with high-school idols has become so popular," Okuma says. "It's now less embarrassing to admit you like young girls. Now they [male fans] say they prefer primary school girls, without hesitation."
Ai's mother, Mami Yamazaki, says her daughter has wanted to be an "idol" singer since she watched an anime cartoon about young girls striving for stardom.
"On television, you see kids acting in dramas and commercials. In magazines, children are modelling clothes. What Ai is doing is not much different," she says, despite the audience for idol shows being mainly adult males.
Yamazaki, 26, herself played in a band as a teenager and sees her daughter's performances as a way into the popular and lucrative world of idols.
It can be a pathway to fame, as demonstrated by Japan's AKB48 band, one of the most successful acts of all time, who started in a small stage in Tokyo's Akihabara, with the youngest member aged 11.
But getting a foothold into the idol scene means the child has to interact with adult fans, taking photos together and autographing the backs of their T-shirts.
"It must be a bizarre sight" for foreigners, admits Himeno but she stresses any sexual advances are an absolute "no-no".
Japan's battle against paedophilia is well documented. The number of minors abused in child pornography has risen five-fold in the past decade, according to official figures.
Police have failed to stamp out so-called JK (Joshi Kosei, or high school girls) businesses, which offer men services such as going for a walk with a teenage girl so the customers have a chance to negotiate for sex.
Quasi-pornographic "chaku-ero", or clothed eroticism – images of small children posing in tiny swimsuits – are easily found on the internet, slipping through a legal loophole.
Lawyer Keiji Goto, who campaigns for minors' rights, says the problem is a social one. Many Japanese think that sexually objectifying young girls is not taboo but rather "just falls into a grey zone", Goto says.
Japan is far from being the only place with a problem of sexualising children. In America, concerns have been raised about the hyper-sexualisation of children appearing in beauty pageants, as well as on reality shows such as Toddlers and Tiaras. And the French Parliament in 2014 adopted a ban on "mini miss" competitions for girls younger than 13, prompted by controversy over a 2010 Vogue magazine photo shoot featuring provocative images of a 10-year-old.
But in Japan, there has been little public debate of the issue. Psychiatrist Hiroki Fukui, who also treats paedophiles, says the awareness in Japan that children need to be protected from potential sexual predators is "so low".
He explains: "We need to realise this situation in Japan is not normal."
Shihoko Fujiwara, the representative of an NGO that helps victims of human-trafficking and sexual abuse, warns of a dangerous mindset.
"The girls will think to themselves the audience is crazy about them because they are small girls and because their value will reduce once they get to the age of 18," Fujiwara says. "A society that allows children to have such a twisted self-identity can never protect them."
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