who is conflicted about his sexuality and that is something in which terrence davis has addressed indirectly in his films before. there s the issue of religion. siegfried converted to catholicism later in life and terrence davies kind of famously. turned his back on the church after feeling abandoned by it. and so what you have is an artist, a poet of the cinema making a film about a poet whose life encompasses and social changes but at the centre of it it is a really kind of heartbreaking story about somebody who can t be who they are, isn t sure who they are, isn t certain that the art they are making is actually as good as it ought to be and seems to be trapped in a situation when they want to change the world, they want to change themselves and they are constantly thwarted. it s like a collage, it flips backwards and forwards in time and we get different actors playing the same characters. as always with terrence davies movies, is beautiful to look at, he is a real poet o
yeah, this is what film poetry looks like and let s have more of this, please. okay. right. let s talk about emergency. so, as i said, tag line, it s not what it looks like. what it looks like is a frat boy comedy. so two best friends who are set to become the first black members of their college and in epic seven parties in one night, which is my idea of hell, frankly. they have to go back to their house and they discover an unidentified white girl passed out on the floor. one of them was to call 911, the other one says, no, we can t do that. if the police turn up, look at us and find her, what will they think? and so through that logic that only ever works it films, they decide to put her unconscious into their car and take her somewhere else, which at this point her sister who realises that she s missing starts tracking her on a mobile phone. so it goes from being a comedy, a kind of animal house frat boy comedy to being something. tense, it s making me feel tense. yeah, fine.