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Movies and the Perfect Timing for Watching Them

The Cold War was a major source of inspiration for cinema. In the West, it favored the emergence and development of many genres, the best known to be the spy film, but the fantastic, science fiction and horror also benefited. Paradoxically, while in the USSR the cold war paranoia was openly cultivated, the cinema did not serve as a receptacle for the anxieties and traumas of society. This is mainly due to the tight control exercised by the authorities over the cinema industry.

Under Stalin, “socialist realism”, the dominant paradigm, required showing the enemy as explicitly as possible. However, from the so-called “thaw” era (1955-1965), anti-American films became less numerous: the cold war changed, the confrontation became more subtle. Then, in the context of “detente” (1969-1979), the totalitarian state felt a less acute need to solicit cinema in the ideological struggle, less strident than under Stalin. In https://real-gomovies.com you can find the best choice of films.

At the same time, the film industry is tacitly called upon to become lucrative:

The profits it earns are used to pay the salaries of many employees (doctors and teachers in particular), and in the context of the acute economic crisis of late in the 1970s, box office money was particularly valuable Imports of foreign films supposed to contribute to this objective are increasing. Direct cultural contacts between the two worlds are increasing, in the field of cinema in particular.

It was then that the invasion of Afghanistan by Soviet troops in December 1979 provoked a new cycle of east-west tensions, commonly known as the “fresh war”. The context of relations between the USSR and the United States is dangerously worsening and with it, the ideological cold war is resuming all the more. In this context of tensions, Soviet propaganda seized the cinema to try to adapt it to a new era and to a largely disillusioned public.

The scale of the speeches

From the end of the 1960s, the horror film experienced a huge revival of popularity in the West, largely inspired by the publication of numerous novels and short stories. In the early 1970s, this success was confirmed. In 1981, the number of horror films released in the United States was 93, surpassing the peak of 1972 (85). Poles of creativity are developing in the United States (John Carpenter, Wes Craven), in Europe (George Romero) and in Canada (David Cronenberg). The development of video multiplies the vectors of dissemination of the genre, which rises several times from the ashes while we regularly predict its disappearance. A sophistication of narrations and staging, a considerable budget and a violence which becomes more and more explicit thanks to the development of special effects and the improvement of make-up (we note, among others, the appearance of slasher and splatter, variants of the gore) are all characteristic features of this “new wave”.


This 2013 comedy, directed by Gary Alazraki, tells the story of Germán, a successful businessman who decides to declare bankruptcy when he suffers a heart attack. It is at this point that he realizes that his three children are incapacitated who do not work and who lead their lives by squandering their father’s money. So he decides to teach them a lesson to open their eyes and make them less frivolous and interested.