CihanVercan

Every other year, there are less and less American distributors or competitors to leading movie industry organization events like BAFTA, Cannes, Venice, Berlin, Locarno, Busan and Rotterdam to list the tops. Show me a sample movie and its honorable director that rottens down the American moviegoers' humane interaction with cinema art: The name is Mukunda Michael Dewil.

Stay away from Dewil for good, like you stayed away from Michael Bay for goodness in the recent past.

Isn't there a better way promote Artificial Stupidity? Us, humans we became too lazy and too care-free that we wanted repetitive and cumulative computer logic to control our lives. Because Canada no longer supports USA in the Arts industry. No more James Cameron and his humane hopeful futuristic opinions, no more humane humour from Jim Carrey and no more Ryan Reynolds story-growth heroism.

This is an out-of-the-blue surprise bag kind of never guessable what happens next movie. It follows certain Eastern Film Story Restructuring/Directing trends of the 2000-2010 era. Events told in chronological A to Z order, but lived in EMOTIONAL ORDER* in I'm a Cyborg But That's OK.

Story Restructuring involves hero v nemesis gathering pioneered by Basic Instinct(1992) and Matrix(1999) on silverscreen, and The Baby Blue Movie(1972-TV) on TV, as well as Chrono Trigger(1995-RGP gaming Nintendo) on Console Gaming. The romantic hero v nemesis structure in I'm a Cyborg But That's OK is identical with HOUSE OF FOOLS** by Andrei Konchalovsky.

...recalled and altered with lies. Suppose you have a memory which you involved but forgotten how. In order to make this memory of yours last, you have to recall it and alter it with a lie.

If you can't lie to yourself, then you can't lie to anybody else either. And that anybody becomes your nemesis by helping you fake your past memory, just how it was in Matrix between Neo and Trinity.

-------------- * Emotional Order in sci-fi genre is built up finding out what is the least important and what is the most important Feeling. In Wachowski Brothers' Matrix-1999 this order went from the most important to the least, for Neo swallowing the Red or Blue pill was more important than returning to reality in the end. This way the storyteller(Neo's mind) does not tell the events occurrences in chronological order.

** House Of Fools(2002)by Andrei Konchalovsky is one-level higher emotional and one-level higher mind-blurring than I'm a Cyborg But That's OK. Both of the films are structurized from the Female Heroine's Point Of View of events what has happened in the past and what will happen in the future. Also in both of the films the female heroines do not live in the present because of their worries about future and confusions about past. So what do both Konchalovsky and Park Chan-wook and Wachowski brothers do?

They save both of the asylum girls and Neo, by sending an unreal or non-logical or non-existent nemesises into the heroines' love stories.

Watchers Guide to Understand Anora. No spoils:

* Anora is a paid hooker and arguably the highest paid hooker ever to hit Silverscreen above her role descendants from Taxi Driver(Jodie Foster), Pretty Woman(Julia Roberts), Leaving Las Vegas(Elisabeth Shue) etc.

* Anora is nothing less in pride and ego, although what she does for a living is not an honourable thing to do, compared to her role descendants starred in True Romance(Patricia Arquette), Natural Born Killers(Juliette Lewis), Freeway(Reese Witherspoon) and Monster(Charlize Theron). Anora is 5th in this order by the loveliness and relatability to those starlets during their heyday.

* Ask yourself every scene and every beat WHAT WOULD I DO IF I WERE ANORA AT THIS SITUATION... Patricia Arquette did it best in True Romance. But consider 32 years passed since Tarantino shot the True Romance.

After 32 years, what romance turned into from true and genuine:

False and fake in taste. This is where her painful screams are rising from after getting beaten by her playboy boyfriend's father's bodyguards.

Anora is not a romantic movie but an erotic movie. So was Animal Instincts. But Shannon Whirry did not showcase any pride or ego to relate with her audience. Anora did.

That's why, from a production quality perspective, Anora is more than her erotic talent. This starlet also showcased a dramatic relatability and receives an humanistic caring just like Reese Witherspoon in Freeway and Charlize Theron in Monster.