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    And yet, from direct cinema to Dogme 95, truth has always been an idealistic goal for many filmmakers, and not necessarily the purity of it, but the translation of its most deeply held essentials.Arguably, documentary filmmaking has always been at the forefront of that aim, though during much of its primordial beginnings—especially throughout the 1920s, ’30s, and ’40s—documentary filmmakers trolled truth as if it was yet another stuffy branch of bourgeois power.The horror film says: Wait Jack, it ain’t that easy.This genre resents platitude (you can count the happy endings among these films on one hand), but the good horror film usually isn’t cynical, as it insists on the humanity that’s inextinguishable even by severe atrocity.There’s an explicit current of self-loathing running through this amazing collection of films.What are Norman Bates and Jack Torrance besides eerily all-too-human monsters? Success also ultimately eludes Leatherface, as well as the socially stunted lost souls of Kiyoshi Kurosawa’s ? The site features barely legal girls who are tough and horny as fuck! Nurses Office Old - Young Outdoor Panties Party Pornstars Pregnant Public Pussy Reality Retro Shemales Sleep Sex Sport Squirting Strapon Teachers Teen Sex Threesome Toys Upskirts Voyeur If you like it rough like these girls, cum inside and check out a brand new site called Punish Teens dedicated to merciless violent hardcore sex.

    All of the galleries displayed on our site are hosted by websites that are not under our control.Even a home video recording, if you’ve ever made or watched or starred in one, is marred by manipulation: Whether you’re aware you’re being “watched” or not, your truth is a sort of surreal quilt of camera placement, cuts and atmosphere, totally mitigated by the lens and then, further down the food chain, the ultimate observer.If you know you’re being watched, you act accordingly; if you don’t, the recording may carry a subtle tone of voyeurism, of intrusiveness—the feeling that something isn’t quite right.That’s akin to saying that all an apple ever really symbolizes is an apple, and that symbols and subtexts essentially don’t exist.A more interesting question: do we flock to films that revel in what is, in all likelihood, our greatest fear? A startling commonality emerges if you look over the following films in short succession that’s revelatory of the entire horror genre: These works aren’t about the fear of dying, but the fear of dying alone, a subtlety that cuts to the bone of our fear of death anyway—of a life unlived.

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