Some like it Sexy is curiously watchable due to its rough hand held camera approach to filmmaking, endless attempts to wed nearly all the action with the title song (plus some surprising top 40 material) and many nostalgic London locales. There's even some low rent surrealism- most noteworthy is the way Peter's conquests are inter cut with scenes of meat being cut up, for some dubious un-pc symbolism. Fans of Hammer films will no doubt be aghast to find twin sisters Mary and Madeleine Collinson the stars of Twins of Evil in some fairly scandalous scenes. There's much kitsch value as well with the unavoidable mindbending LSD sequence and Winter's dedicated follower of fashion, rivaling Austin Powers in his choice of Carnaby Street fashions. The film wasn't released until two years after it was made, apparently in its original version it was not explicit enough and Winter had to shoot some crude `sexy' inserts using very obvious body doubles to ensure a sale..
Relegated to a forlorn afterlife of unsmiling lost souls and melancholy drifters as a result of committing suicide in the mortal realm, a heartbroken young man sets out to find the girl who inspired his final act of self-destruction after learning that she too has taken her own life in director Goran Dukic's adaptation of Etgar Keret's darkly comic novella Kneller's Happy Campers. A likeable young man despite his depressive disposition, Zia (Patrick Fugit) puts blade to wrist only to find that the pain of life doesn't end with the coming of death. Now trapped in a bleak metaphysical landscape populated entirely by suicide victims blearily searching for the joys that eluded them in the physical realm, Zia soon learns that the love is one of the latest arrivals in the dreary land of the dead. As Zia sets out to locate his ill-fated former companion and experience the joys that eluded the couple in life, he is joined in his quest by a lovelorn Russian rocker named Eugene (Shea Wigham) and an accidental tourist named Mikal (Shannyn Sossamon), who's looking for a way out of the sorrowful stir.
The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.