12/13/2023 0 Comments Cult of the lamb robes![]() Plus, she added, “Robes are very cozy and comforting! Great for lounging post- or pre-show, I imagine.” Founder Ellen Van Dusen told HuffPost that she had no inkling that Styles was a fan, but she observed that “he’s been wearing exclusively bold patterns and colors and a ton of stripes ” and the robe’s inverted stripe pattern “fits right in” to this aesthetic. Variety of electrifying prints in addition to the striped itera that was spotted on the musician’s feed. While the imprint is known for its kinetically-patterned home goods, the oversized 100% OEKO-TEX-certified cotton robe has been a best-seller for the brand since the style launched in 2020.ĭusen Dusen has rotated the prints over the years, and the robe is currently available in a A burly policeman – such a relief to see some cops again – sums up a ghastly final scene: “Well, this is fucked.” Yes, indeed.In a recent Instagram post, the singer showcased some high-design loungewear from a home-goods brand with a cult following. Plenty of baptism opportunities present themselves to Shepherd but re-birth is not always forthcoming. When they finally find their Eden, it’s beside a lake surrounded by mountains. It’s no surprise that baby boys aren’t welcome – there can only be one ram in the flock. The bleak wintry trek to find a new home brings things to a head for her, when one woman is forced, brutally, to give birth along the way. Selah has a strength and fierceness, as well as a beautiful ethereal quality, that leads her to oppose Michael, though her scepticism sets in agonisingly slowly. Flashbacks to previous lives would have lent substance and insight – Martha Marcy May Marlene, (2011) for example, explores the fascinating reasons behind the cult mentality and its rituals, grounding it firmly in the present, in a way that you long for here. If this is a parable about masculinity and power, it doesn’t come off. Rivalries among wives and daughters abound, but there’s an insubstantial feel to these supposedly intense emotions. The bloody lamb is not a pretty sight, and Selah seems to be sent over the edge by it, though it’s not clear if her Carrie-style stabbing frenzy is a hallucination. Shepherd ( Michiel Huisman, pictured above) doesn’t punish her he keeps telling her she's just like her mother. Selah gets her period for the first time when she’s been entrusted with the sacred duty of helping a ewe give birth, but she falls asleep in the sun. Predictably, once you start menstruating you’re unclean and have to go to a dark hut and eat scraps, equipped with only clumps of lambswool to clean off the blood. The preoccupation with menstrual blood wears thin. ![]() “I’ve been here so long I don’t know who I am any more,” is all the cursed wife can offer. We’d all like to know the answer to that. ![]() “He calls me a broken thing,” says one baleful woman (Denise Gough Colette) known as the cursed wife – she’s the only one with short unbraided hair – warning Selah (an impressively natural Raffey Cassidy Tomorrowland The Killing of the Sacred Deer), whose own mother has died mysteriously, that this will happen to her in due course. He favours pubescent girls older women are often discarded and punished, that is, if they don’t die in childbirth. The outside world will destroy us, he explains, but of course he’s the destroyer. “I have grievous news,” he tells them after the police – a brief glimpse of the flashing lights of the modern world, though it’s irritatingly unclear what era we’re in – warn him that he and his band of acolytes must move on. The trick is to stare him down.īut there’s no back story, no explanation for the fact that this sizeable flock of American women with their hair in braids, living in poverty and bedding down communally on, of course, sheepskins, are in thrall to a creepy young man who likes to test a gag-reflex as part of foreplay and talks in a quasi-biblical way. Shot in Ireland in County Wicklow by Michal Englert, it’s visually stunning, with dramatic waterfalls, wild forests with sunlight glinting through, boundless mountain vistas and attractive sheep. Polish director Malgorzata Szumowska’s first English-language film (previous features include Elles, starring Juliet Binoche, in 2011, and In the Name Of, 2013) with a screenplay by Australian writer Catherine S McMullen, is beautiful but tedious. If he’s the father of these daughters, things are even darker than they seem. ![]() He is surrounded by adoring women (there’s a whiff of The Handmaid’s Tale in evidence) wearing coloured robes: red for wives, blue for daughters. ![]()
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