Father Lovely Daughter Sex

Father Lovely Daughter Sex




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Keren Yedaya's textbook portrait of a sexually abused woman is tough yet unremarkable.
Kate McKinnon on How Friends Would Describe Her - Power of Women 2021
Incest continues to be inexplicably popular arthouse fodder, with Keren Yedaya’s “That Lovely Girl” prolonging the trend. A hothouse story of a father-daughter’s abusive (in all senses) relationship includes collateral issues such as codependency, self-mutilation and bulimia, making for a fairly accurate psychological profile of a sexually abused woman. If only Yedaya offered insight rather than a textbook portrait delineated solely by her protag’s victimization. Shot frequently in closeup to enhance feelings of inescapability, the pic is tough yet unremarkable, significantly marred by a vital side character lacking plausibility. “Girl” will accumulate fest and streaming dates, but little else.
Moshe (Tzahi Grad) and Tammy (Maayan Turjeman) are father and daughter. The script offers no backstory, so audiences only understand that he’s raped his child, now in her early 20s, for so long that she gets upset if he doesn’t have sex with her. His intimidation is so complete, her conviction that he’s the only person who loves her so total, that she becomes distraught when she suspects he’s with another woman. After Moshe comes home late, she asks, “Are you having an affair?” “Is it any of your business?” he demands in return, accompanying the jibe by slapping Tammy in the face and then sodomizing her from behind.
While he’s out, she binges and vomits, then pulls out an X-acto knife to add further cuts to her heavily self-scarred limbs. Daddy returns, bandages the wounds, and treats it all like a minor nuisance. Later he scolds her for getting fat: She cries, so to make her feel better, he roughly takes her from behind before leaving again. When he brings his new g.f., Iris (Tal Ben-Bina), to Passover dinner, Tammy sulks and finally runs away to the beach, where she lets four guys have sex with her.
With all the new activity, Tammy loses her purse and becomes distraught. Fortunately, Shuli (Yael Abecassis), a stranger, calms her down and takes her home, allowing her to stay the night and tending to her latest batch of self-mutilations. Who is Shuli? Does she have a job, or a life other than one devoted to this young woman she’s just met on the beach? Given the obvious lesbian overtones, including penetrating gazes and body language, audiences are led to think that Tammy is fated to be yet another victim of exploitation — it would have been a more interesting twist than the one Yedaya takes, of a selfless woman trying to break Tammy free from her abusive father. Surely the word “die,” which Tammy carved on her own arm, should have given Shuli enough pause to consider that maybe she’s a little out of her depth here.
Such thoughts remain unaddressed as Tammy ping-pongs between Daddy and her new protector, unable to break away from her codependency. Yedaya’s superior debut feature, “Or,” featured another kind of dysfunctional family, involving a teen girl and her prostitute mother; the follow-up, “Jaffa,” was less about the dynamics of parents and children, though still concerned with family power plays. With “That Lovely Girl” (originally titled “Away From His Absence,” like the novel it’s based upon), the helmer returns to the more minimal intensity of her freshman work, yet her characters are defined only by their psychological deformities – Moshe as monster, Tammy as traumatized victim. Shuli, meanwhile, is merely Good Samaritan, a far-fetched notion in keeping with Yedaya’s roughly sketched notions of personality, designed to make a statement rather than present a real human being.
Turjeman and Grad give what are generally called “brave” performances, and there’s no question they opened themselves up emotionally for this punishing psychological ride. Lensing marks a stylistic return of sorts to “Or,” also shot by Laurent Brunet, though here there’s a far heavier use of closeups, especially in the first two-thirds, which emphasize Tammy’s constricted world.
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Cannes Film Festival
Cannes Film Review: ‘That Lovely Girl’
Reviewed at Cannes Film Festival (Un Certain Regard), May 15, 2014. Running time: 97 MIN. (Original title: “Harcheck mi headro”) 
Production: (Israel-France-Germany) A Transfax Film Prods., Bizibi, Riva Filmproduktion production. (International sales: Other Angle Pictures, Paris.) Produced by Marek Rozenbaum, Michael Rozenbaum, Emmanuel Agneray, Jerome Bleitrach, Michael Eckelt.
Crew: Directed, written by Keren Yedaya, adapted from the novel “Away From His Absence” by Shez. Camera (color), Laurent Brunet; editor, Arik Lahav-Leibovich; production designer, Eyal Elhadad; costume designers, Li Alembik, Ofri Barel; sound (5.1), Simone Weber, Stephen Konken; line producers, Dan Gurfinkel, Christian Vennefrohne; assistant director, Adin Weiner.
With: Maayan Turjeman, Tzahi Grad, Yael Abecassis, Tal Ben-Bina, Ori Yadlin, Adi Shir, Or Edry, Barak Friedman, Dor Srugo. (Hebrew dialogue)
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"The sexual intensity was nothing like I'd ever felt before. It was like being loved by a parent you never had, and the partner you always wanted, at once."
Note: The following article contains reference to sexual misconduct that some readers may find distressing.
Genetic Sexual Attraction (GSA) seems to be a real topic of discussion at the moment, with numerous stories of long-lost family members who reunited only to discover an intense sexual attraction, being bandied about all over the place.
And another one has emerged today, in the form of an interview by Jezebel. In an initial first-hand piece published by the site, a woman called Natasha described her experience of GSA. Meeting her father aged 19, she ended up engaging in a sexual relationship with him, all the while struggling with the countering emotions of self-loathing and disgust.
Natasha didn't grow up with her father, explaining that he actually left while her mum was pregnant. But she says her mother's following relationship with a woman didn't leave an unfilled hole for a male authority figure.
"My mom's long-term partner was a patriarchal butch lesbian, so I already had a 'father figure' in my immediate family," she said.
But because her mum's partner, whom she split with when Natasha was 19, had been emotionally abusive, she set about tracking down her father.
"I was desperate for anything else. So when I found my dad, it didn't matter that he was a man, it just mattered that he was a parent," she recollected.
After Googling her father's name, she managed to track him down as living in Jamaica, and says he was "thrilled" at her getting in touch. When Natasha first met her father, she describes being "taken with him, but in a nonsexual way," until a year later when she recalls feeling sexually attracted to him, and during the following year she and her father had oral sex "four or five times over the course of a few days."
Discussing her intimate relationship with her father, Natasha labelled it "crazy", but not necessarily in a bad way.
But the progression of their sexual experience only stopped because her father took control. "I had tried to have unprotected intercourse with him, which I had never done before in my life," she said, "and he stopped me and said, 'We can't, I'm your father'."
While this made Natasha believe her father was trying to protect her at the time, years later she thinks of his actions as "terrifying".
Following that trip to Jamaica - which had been her third - Natasha felt so disgusted at herself that she entered into therapy and stopped seeing her father. Although he was in contact with her at the beginning of her counselling sessions, she soon began to feel angry at the situation and stopped answering his calls.
"He wound up sending me an email eventually, apologizing," Natasha recalled. "It wasn't a particularly long or insightful message. It was just, 'I'm really sorry for what happened.' Too little, too late."
If you are upset by anything you have read and would like support, reach out to ISAS (incest and sexual abuse survivors).
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