Most of The Other Israel Film Festival’s film screenings and panel discussions will be available both in-person and virtually.
During the pandemic, watching movies is a favorite choice for many people to spend their time. If you are getting bored with the romantic genre and predictable storylines, you can watch the best films of this year.
Watching movies is sometimes an option for some people.
Of course the reasons vary according to the needs of each person.
In this digital era, there are many conveniences, especially for big screen movie lovers.
This convenience is proven by not having to come to the cinema to just watch your favorite movie, for example.
But you just have to sit back and open your gadget, then all the services according to your needs are available on it, including the movie site you want to search for.
The following is a list of watching movies online for free. Read more below and enjoy your free time with the best films of the year:
Besides being able to be watched streaming, the collection of films above can be downloaded for later viewing, both on cellphones and television.
The 1989 cult horror classic Society is remembered for its sensational effects and disturbing undertones. But it’s the movie’s grisly portrayal of the rich exploiting the poor that’s the scariest thing of all.
The rich are not like you and me. Studies have shown again and again that the wealthier you are, the less stressed, empathetic, and morally scrupulous you’re likely to be. The psychological effect of money can be so powerful, the rich may as well be a different species.
In fact, what if they are?
This was the conceit of 1989’s Society, one of the more fantastically deranged cinematic artifacts from the era of low-budget body horror. This kind of thing wasn’t unusual for cinema in the decade of Ronald Reagan, when movies like Trading Places and Wall Street called attention to the class divide that had become more visible than seemingly ever in American society. But Society stands out not just for the sensational physical effects that solidified it as a cult classic for horror fans, but the directness and savagery of its class critique. For all the pastel colors, poofy hair, and teen sex antics that date it firmly to the 1980s, Society oddly feels like it was meant for our era of Jeffrey Epstein, QAnon, and oligarchic scheming.
The film follows Billy (Billy Warlock), a paranoid, seemingly mentally unwell teenager who starts to suspect there’s something sinister going on with his well-to-do California family. In between the usual teen-movie hijinks — parties, girls, an election for student body president — Billy uncovers evidence his parents, sister, and apparently almost the entire world of the Beverly Hills elite that he moves in are part of some kind of twisted sex cult. Incest, conspiracy, murder, a cover-up — all of it culminates in the movie’s notorious climax, which can probably best be described as Bob Guccione’s Caligula filtered through an Eli Valley cartoon.
Tonally, Society treads an uneasy line between laughs and outright nausea. Director Brian Yuzna has said that he played up the camp elements of the story on purpose, to emphasize the movie as a piece of satire.
“It was my first time directing,” he says. “When it came out, it was seen as awkward, but a generation later, it just looks like that’s what the 1980s were.”
Inadvertently, that unaffected, ’80s-teen-movie style, all bright colors and loopy sound effects, gives a booster shot to the story’s horror, the movie’s goofiness making the incestuous undertones and paranoia of the film somehow more disturbing. It feels, to both Billy and the viewer, like they’re in a typical teen sex comedy from the era, but something’s just . . . off. It’s safe to say that by the time you find out what exactly that is and the credits are rolling, you’re left feeling deeply unclean, both for the sights you witnessed on screen and for the movie’s reminder of the very real way those at the top use and abuse those at the bottom of society.
In Capitalist America, the Rich Eat You
It’s hardly surprising that Society came out of the 1980s, when class warfare became a fact of American life again, this time waged and won by the rich. “People were very materialistic back then,” says Daniel.
The movie eventually found its audience. It first made a lot of money on home video through the 1990s, and then, say Yuzna and Daniel, it had a mini-renaissance after 2000, partly thanks to a rising nostalgia for the 1980s. But it was after the global financial crisis, Yuzna says, that he started getting a lot more calls asking him to screen the movie.
For all the anger and fright Reagan’s policies inspired, the movie’s indictment of the rich and portrayal of class antagonism feel far more from this era than his. “If you don’t follow the rules, Billy, bad things happen,” Billy’s psychiatrist tells him. “Now some people make the rules, and some people follow the rules. It’s a question of what you’re born to.” By the end of the movie, it’s put to him more directly: “The rich have always sucked off low-class shit like you.”
We gradually realize that the sick ritual at the heart of the story is one that all of Beverly Hills high society is involved in: parents, police, the judicial system, even paramedics. It also stretches beyond, with the judge mentioning to one young Society member he’d be an ideal candidate for an internship under him in Washington.
The reveal that Billy is, in fact, adopted, was one Yuzna brought to the movie. In story terms, it explains why he’s been kept in the dark about the nature of Society, and why he’s targeted by it. But it also has a deeper significance. “You’re not one of us,” Billy’s told. It’s not enough to be nouveau riche, Yuzna explains. To be accepted into the upper crust, you have to have more than money; you need to join bloodlines.
The air of sexual predation throughout is another element that seems a better fit for a movie about class inequality today. We’ve now had several decades worth of scandals that at least purport a link between society’s powerful elite and human trafficking: both unproven episodes with allegations of something much larger, like the Franklin Credit Union scandal of the 1980s and Belgium’s Dutroux affair in the 1990s, and cases where this link is very real and proven, like the involvement of UK members of parliament in child abuse and its subsequent cover-up, and, of course, the Epstein scandal.
Fittingly, Society offers no real closure for the viewer, and the fact that its protagonists escape in the end doesn’t seem to make a difference to the movie’s villains or the world they operate in. “What are they going to do?” chuckles Yuzna. “Go to the police and say, ‘The rich are exploiting us’?” As Billy’s told at the end by one of Society’s elite: “We don’t lose. Ever.”
It’s bleak stuff. But as awful as it is, maybe it’s what people want to see in our neo-Gilded Age of massive inequality and hyperexploitation. There’s been an explosion of interest in anti-capitalist entertainment of late, with Western audiences, unable to find the systemic critiques they’re looking for in English-speaking cinema, turning to Korean projects like Parasite and Squid Game. Yuzna says he’s had interest from Korean filmmakers in securing the rights for a Society remake.
“Horror movies give you a chance to deal with uncomfortable topics in kind of an entertaining way, but you get a distance from it,” he says. “I don’t want to see a movie about someone dying of cancer. But if it’s not cancer but, say, an alien disease . . .”
And maybe this, beyond all its gross-out effects and taboo-breaking, is what continues to make Society such an uncomfortable watch, whether on Halloween or any other night. The world it presents is sickening, no doubt. But it’s the reality of class warfare waged by those at the top against the poor and working class that’s the scariest thing of all.