Russian Teen Boy Masturbating

Russian Teen Boy Masturbating
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A TEEN was allegedly caught on camera masturbating behind a mom's back and in front of her 12-year-old son in Walmart’s toy aisle.
Elias Alan-Arturo Flor, 19, was filmed walking towards the mom who was looking at toys with her son in the Florida store, cops say.
He walked into the Walmart Supercenter - at about 8.30pm on Friday “looking for the right opportunity to commit the act," according to police.
After pacing in the isle, Flor approached the woman and allegedly masturbated behind her, the Tampa Bay Times reported.
But by the time the mom's "distraught" son saw what was happening and notified his mom, the teen had left.
Winter Haven Police Chief Charlie Bird said: “This situation is absolutely sickening.
“I applaud the child’s bravery to speak up and give details that gave information we could get to the media that assisted with the ultimate arrest of the suspect."
Surveillance images were released the day after the incident - prompting Flor to turn himself in.
Flor was charged with battery and committing a lewd act in front of a child 16 or younger.
Winter Haven PD Public Information Officer Jamie Brown told WFTS Tampa Bay : “I was mortified – this is the Christmas season.
“This is somebody that was preying not only on a female but a child near her.”
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In Matt Kazman’s short, a tragic coincidence convinces a teenager that his private time is a lethal weapon
Matt Kazman wanted to make a film that got inside the minds of teenage boys. The obvious avenue: masturbation.
Kazman’s “Killer,” one of the finalists in TheWrap’s ShortList Film Festival 2016, is a 20-minute look at a boy who believes his self-pleasuring is also a deadly weapon. But it’s also about growing up in a society where most teens get their sex advice from each other.
“The logline definitely reads a little sillier than the movie plays,” Kazman told TheWrap. “That was kind of intentional, because it’s an inherently silly idea: a kid thinking that masturbating can kill someone.”
In “Killer,” young Dusty (Hale Lytle) is enjoying some quality time to himself when his mother suddenly drops dead in the next room. One of his school frenemies had told him that every time someone masturbates another person dies, and after the fatal moment, Dusty starts to believe he has that power and acts accordingly.
Kazman said the short came from an idea he had for a feature film about two brothers who felt different types of guilt when their mother died unexpectedly. The older one regretted being rude, and the youngest felt shame because he was masturbating at the fatal moment. Kazman decided to focus on the latter and make it a short, seeing a lot of himself in the character.
“When I was that age, I was quiet and awkward,” Kazman said. “And surrounded by friends who would hear things from older brothers and family members about sex, and learning these things were not true. I liked the idea that in [Dusty’s] head it was frightening, but as an adult it was really funny.”
Kazman said one of the hardest parts of making the film was finding the right child actor to play an uncomfortable role, but with the right amount of levity.
“It took a while to cast, for obvious reasons,” he said before finding Richmond, Virginia, native Hale Lytle, now 14. “I knew I wasn’t going to make the film until I found that kid. I worked with a casting director for the first time who had worked with kids who were in ‘dark’ commercials. I wanted it to be honest and not feel melodramatic.”
Kazman said he’s heard from a surprising amount of people who’ve seen the film how much it reminded them about their experiences as teens, where they also got a lot of nonsense sex advice from peers. He would like to see that change for the better.
“If I’m promoting anything, it’s to inspire kids to feel comfortable talking to parents and older adults about sex,” Kazman said.
Watch the film above. Viewers can also screen the films at any time during the festival at Shortlistfilmfestival.com and vote from Aug. 9-23.
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Jury members Victor Moyers, Craig Kestel and Brett Morgen with Sharon Waxman and Steve Pond of TheWrap
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ShortList jury member Victor Moyers, President of Production, Broad Green Pictures
ShortList jury member Victor Moyers, President of Production, Broad Green Pictures
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"Myrna the Monster" director Ian Samuels
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Gabriel Osorio, director of Audience and Jury Prize winner "Bear Story"
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Venice Film Festival 2022: The latest from Kôji Fukada (”A Girl Missing“) finds emotional power and interactivity in cramped and often silent spaces
Enormous personal events unfold throughout Kôji Fukada’s soulful Japanese drama “Love Life,” premiering at the Venice Film Festival: a marriage, a reunion, an affair and, most notably, a death. And yet the scale in which Fukada works — as both writer and director — is so deliberately intimate that immense experiences feel microcosmic, while tiny moments make a huge impact.
His heroine, Taeko (Fumino Kimura), is so self-effacing that it often feels as though she would erase herself if she could. Most of the time, she is able to look to others for meaning and definition; in her small, generic flat within a block of large, generic apartment buildings, she serves her in-laws, her husband, her son Keita (Tetta Shimada). At work, from a cubicle or a sidewalk, she serves as a social advocate, helping unhoused and otherwise disadvantaged strangers.
When she can’t find something to do, she lingers in near-immobility, as if she’s waiting for the next event to guide her. Tragically, the event that transforms her life is the worst one imaginable. And though it changes everything day to day, it only serves to entrench her further.
When her world turns upside-down, her husband Jiro (Kento Nagayama) retreats to his former girlfriend (Hirona Yamazaki). Her in-laws, who never approved of Taeko, move away. And her first husband, Park (Atom Sunada), who abandoned her and their child years earlier, shows up unexpectedly.
Taeko harbors reasonable resentment towards Park, who is definitely a liar, possibly a grifter, and unreliable to the extreme. But he’s also the ideal match for her: as a deaf Korean, he is naturally unmoored in Japan. He is also homeless and someone to whom Taeko can — to Jiro’s increasing concern — direct all her own caretaker impulses.
Fukada (“Harmonium”), who was inspired by Akiko Yano’s plaintive 1991 pop song (also called “Love Life”), works in miniature. Each careful frame and uncomfortably long take is composed with infinite patience. He then builds these out into weighty, ironic juxtapositions, as his cramped settings fill up with people separated by deep emotional chasms. Characters often stand quietly still while trying to communicate, the silence impactfully extending each time Park and Taeko speak to each other in sign language.
All of the performances are touching, though it can be tough to connect with either Taeko or Jiro since they have such a hard time connecting themselves. And as the film unfolds, Fukada increases the space between them, physically and emotionally.
In contrast, Park is both shifty and shifting, alternately repellent and compelling. He doesn’t just come from different worlds; he inhabits them with an expansiveness that perpetually challenges the other characters’ caution. The movie begins with Taeko and Jiro’s family celebration and ends with Park’s. In between lies the span of an entire universe.
“Love Life” makes its world premiere at the 2022 Venice Film Festival.
”It’s all fun to play in both worlds and see how they affect each other,“ the ”Don’t Worry Darling“ actor said
Harry Styles reflected on his journey from music superstar to film lead at the Venice Film Festival on Monday, admitting that he’s still a novice actor and telling journalists that he has “no idea what [he’s] doing” when it comes to acting during a press conference.
“Music I’ve done a little longer so I’m a bit more comfortable. What I like about acting is I feel like I have no idea what I’m doing,” Styles said at a press conference for “Don’t Worry Darling” at the Venice Film Festival, Variety reported .
The musician and budding actor, who will star in the upcoming feminist thriller as well as drama “My Policeman,” also noted that he finds his two passions “opposite in a lot of ways.”
“Making music is a really personal thing,” he said, adding that, “there are aspects of acting where you’re drawing form experiences a bit, but for the most part you’re pretending to play someone else.”
Despite these differences, the “As it Was” singer explained that his experiences acting and singing “can aid each other in a way.” “Any time you get to view the world through a different lens, it can help to create whichever way it goes,” he continued. “I find it really different. I think the fun part is that you never know what you’re doing in either one of them.”
The rising star plans to continue to embrace both sides, saying “In terms of the future…I enjoy both.”
“I feel like being able to explore [acting] has made me feel even luckier I get to do two things I really enjoy,” he continued. “It’s all fun to play in both worlds and see how they affect each other.”
Styles stars in “Don’t Worry Darling” as a ’50s-style husband who whisks his wife, Alice, played by Florence Pugh, away to a utopian society in the desert. As Styles and the other men leave their wives each morning to go work at a mysterious mountain, Alice suspects something sinister is behind the perfectly crafted veil.
“It’s fun to play in worlds that aren’t necessary your own,” Styles said in reference to the society of “Don’t Worry Darling.” “This world is supposedly so perfect; it was fun to play pretend in it.”
Despite an enormous amount of controversy surrounding the film — including Pugh limiting her promotional press due to an alleged feud between herself and director and actress Olivia Wilde — Styles has managed to stay out of the dispute.
Venice Film Festival 2022: Pugh and Harry Styles star in Wilde’s satiric and somewhat frantic psychological thriller
To say that “Don’t Worry Darling” is a mixture of “The Stepford Wives” and “Get Out” is both accurate and deeply misleading. It’s accurate because Olivia Wilde’s satiric and somewhat frantic psychological thriller does borrow from films like “Stepford,” where an idealized community is one in which the women are dolls designed for male satisfaction, and “Get Out,” which uses horror trappings to grapple with timely issues of power and privilege.
But it’s misleading because there’s another film to which “Don’t Worry Darling” owes even more than it does to those two – but to even mention the other film’s name would be to give away a crucial plot twist that happens late in the film and changes everything.
So we won’t mention The Film That Shall Remain Nameless, except to say that Wilde’s embrace of its premise is not exactly handled as smoothly and seamlessly as you might hope. It’s provocative, to be sure, but it might have you walking out of the theater muttering, “now, wait a minute…” as you ponder inconsistencies and things that just don’t add up.
“Don’t Worry Darling,” which had its world premiere at the Venice Film Festival on Sept. 5, is bigger, bolder and more ambitious than Wilde’s sharp and satisfying directorial debut, 2019’s “Booksmart,” but it’s not nearly as sure-handed in tone as that gem. Her new film gives you plenty to admire, from its look to yet another strong performance from the reliably terrific Florence Pugh, and just as much that is frustrating. If Jordan Peele is the current gold standard when it comes to provocation under the cover of mainstream genre cinema, Wilde still has some catching up to do.
Still, there’s an arresting vision on display for much of “Don’t Worry Darling.” It’s the tale of a young couple, Alice (Pugh) and Jack (Harry Styles), who live in the desert community of Victory, a bucolic oasis that feels like the fever dream of “Mad Men” era account exec: snazzy late ’50s convertibles, immaculately manicured lawns, cul de sacs full of spacious ranch houses where perfectly coiffed and clad stay-at-home housewives spend their mornings cooking and cleaning, their afternoons shopping and their evenings meeting their husbands at the door, cocktail in hand, as the men return from work.
Victory, it turns out, is a company town for a company called the Victory Project, whose exact mission is deliberately vague (“progressive materials”?), though it’s obviously important and has something to do with that hill outside town where all the men head every morning.
If the premise itself doesn’t send up a few red flags, the movie’s visual style will: Victory is outfitted down to the last Egg chair by production designer Katie Byron and shot by cinematographer Matthew Libatique with such a sheen that every frame is deeply suspicious. (Mid-century modern has never looked creepier.)
Alice vaguely knows things aren’t right, but only vaguely; even if she’s not entirely comfortable, she participates in what seem to be nightly revels, wild parties where the liquor flows, the women compete to see who can keep a glass balanced on their head the longest and the men carouse so enthusiastically that they almost seem to be fueled by desperation.
But who could be desperate in Victory? After all, the charismatic head of the Victory Project, Frank (Chris Pine) tells them that they’re changing the world, and who are they to argue?
Jack is all-in on the program, and he’s clearly got a bright future; why, Frank even looks the other way when Jack and Alice sneak into his office for some quick, torrid sex in the middle of an elegant poolside soiree. (Well, he doesn’t exactly look the other way – he watches, but at least he doesn’t stop the happy couple from their happy coupling.)
Alice, though, starts to have her doubts. Why do all the husbands and wives have suspiciously similar stories about how they met? Why won’t Jack ever take a day off work and play hooky with her? Why are people lying to her about the neighbor she saw slit her own throat and fall off the roof? What happened to that airplane she saw crash behind the hill outside town? Is she hallucinating, or are the walls really closing in on her?
It wouldn’t be fair to answer any of those questions in a review; suffice it to say that the more Alice questions what’s around her, the worse things get. As her reality spins out of control, it feels as if Wilde herself is struggling with the movie’s tonal shifts.
With her finely calibrated mixture of ferocity and doubt, Pugh grounds the film as a woman who won’t be gaslit but may find that the alternatives are even worse. It’s her movie, even if actor Styles gets to turn into pop star Harry Styles (a role in which he seems more comfortable) and dance on a big stage in one particularly boisterous scene.
But as Alice’s life gets messier and more confusing, so does the increasingly uneven movie. Eventually, there’s an explanation for everything that happens, and it’s meant to feel both monstrous and timely. But while that particular explanation has been used to great effect in that movie we can’t mention, the “Don’t Worry Darling” screenplay by Katie Silberman (“Booksmart”) from a story by Carey Van Dyke, Shane Van Dkye and Silberman leaves way too many loose ends; the revelation doesn’t help the resolution, although it does give Wilde, who plays a supporting role, one of the most unsettling and moving scenes in the movie.
As a director, Wilde does an effective job of provocation, and the movie may stir up its share of worthy conversations if people can move beyond the gossip that threatened to overshadow everything else before the Venice premiere or the Sept. 23 theatrical release. But it feels as if there’s a better movie in here somewhere, lost beneath the wild-eyed freneticism and the unsatisfying exposition.
Warner Bros. and New L
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