When his jailors jeeringly offer him pornography to pass the time, he pulls out and rereads Luna’s love letter, which he has somehow managed to hide. The “police” are actually human vultures who take him to an unfinished building where they shackle him to the bed in some familiar-looking scenes. Then, while she is looking the other way, he is taken away in a police car and never seen again. One day he takes her to a solitary place where he keeps his horse and she watches him ride around the ring jumping over the bar. In any case, Luna’s clashes with her stern mother, who dresses in 19 th century fashion and has the prim, stony character to match, escalate when she is seen riding around town with Giuseppe on his scooter. It’s never clear whether Luna’s folks are worried about their daughter hanging out with a child of organized crime or (most probably) if they are part of the vast world of tight-lipped Sicilians who prudently choose to turn a blind eye to the criminals in their midst. His father was once a close associate of the mafia chief and is currently in police custody, where he is spilling the beans. Her parents - a hen-pecked diabetic dad ( Vincenzo Amato) and an infuriatingly manipulative mother (Sabine Timoteo) - know that the handsome, rich, sporty Giuseppe is too good to be true. He also rescues her from a ferocious black dog with a clever ruse, establishing his role as a white knight in her life. Their shy, never-been-kissed teasing ends with him snatching a love letter from her hands. She’s a smitten classmate of the tall, angelic-faced Giuseppe ( Gaetano Fernandez) and she follows him into an enchanted woods in the first scene. They also add the fictional main character Luna, who is vividly portrayed by young Julia Jedikowska in her screen debut. The animation and the flying and the punching may be the main reason to watch this one, but it also offers an interesting argument for how our beliefs are formed not by individualism but by the random chance of where we’re raised.If Grassadonia and Piazza had simply retold the story, it would have been gripping enough, but they deepen the intensity and widen the meaning by letting the tale unfold in a strange filmic space between cruel reality and ghostly fantasy.
In other words, this Superman is, at heart, a good man, but one raised to believe in the teachings of Stalinism. Along with getting to see altered versions of Superman, Wonder Woman, Batman, and more, what’s most intriguing about Red Son is that while Kal-El is essentially the same guy, he is so not the same guy. In Red Son, Superman works for Joseph Stalin - until the Kryptonian takes the reins of the Soviet Union for himself.
REALITY FANTASY AND THE SPACE IN BETWEEN MOVIE MOVIE
What if, rather than landing in Kansas, the ship carrying the infant Kal-El came down in the Soviet Union? That’s the premise of the excellent animated movie Superman: Red Son, based on the 2003 DC Comics mini-series of the same name. While critics weren’t the biggest fans of The Butterfly Effect, audiences clearly parted ways with reviewers and helped pave the way for 2006’s The Butterfly Effect ’s The Butterfly Effect 3: Revelations. Worse still, years of contradicting memories begin pulverizing his mind. But the more he does it, the more unpredictable alternate futures he creates - each one more disastrous than the one before it. So when Evan discovers that reading his childhood journal somehow gives him the ability to return to the past and change what happened, he goes for it. Ashton Kutcher stars in the thriller as Evan, a college student whose childhood trauma includes sexual abuse and almost being murdered by his own father. But what if the trauma you suffered as a child is unthinkable? Shouldn’t you get a pass when it comes to the conventional time-travel rules? Not according to The Butterfly Effect. Things, after all, could always be worse. One of the most oft-repeated sentiments in stories involving time travel is that it’s better to learn to live with the past and be grateful for your present.
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