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In Maze Megaburst Space, not only is the central couple a pair of blood siblings, and not only is the central plot their successful and unrepentant plot to be together, but it goes even beyond that... Instead, what it gave us was two young and relatively untested actresses, Léa Seydoux and Adèle Exarchopoulos, deftly describing, in the grim northern French town of Lille, the heady emotional rushes and sudden power shifts of an emerging relationship. Looks are exchanged, picnics are arranged, kisses are traded and then everything grinds to a halt at approximately one hour and 11 minutes into the movie, when director Kechiche and his two lead actresses deliver the type of jaw-to-the-floor sex scene that has subsequently raised the movie-sex bar to insane heights of verisimilitude and has pushed the literal definition of "simulated" to breaking point. Vampire Knight: Yuki, Kaname's adopted sister, becomes involved in a romantic relationship with him.
In Tsukihime, Shiki's sister Akiha has a very possessive crush on him. Parodied in numerous doujinshis and official omakes, including one where Ciel points out the hopelessness of the crush. Shiki's feelings are purely platonic... And a large part sheer terror—Akiha is tsuntsundere at best and Yandere at worst. Of course, they are Not Blood Siblings, and Akiha does have her own path in the Visual Novel. In the 20 years since, trans characters have garnered one more Oscar win (Jared Leto for Dallas Buyers Club) and two more nominations (Eddie Redmayne for The Danish Girl and Felicity Huffman for Transamerica), while Yance Ford became the first transgender filmmaker nominated in 2018. Progress, slow as it may be, is afoot.A Short Film About Love’ was the cinematic extension of the sixth episode of his highly acclaimed Television drama ‘Dekalog’ and was one of his underappreciated works. Teenage angst and sexual infatuation have never been portrayed so beautifully in cinema as Kieslowski paints the madness, the enigma, the ecstasy, the melancholy of human emotion so delicate yet so profound and magical to be put into words. I wouldn’t give away much of the film here as it’s a film that means so much to me. It’s sad, painfully truthful, yet intoxicating. The first episode of Voltage Fighter Gowcaizer, the Villains Of The Week were an incestuous set of twins (who were empowered by the Big Bad Evil Guy to save the dying sister) who merged into a gestalt monster "powered by love". Likewise, the novel adaptation of Baccano says that Graham Specter's first love was his sister. No information has been given beyond that so far. Izaya's younger twin sisters Kururi and Mairu are also Twincestuously close to each other. In the anime it comes rather out of left field when they make their only proper appearance in the series in a DVD-only episode, and suddenly make out without any kind of foreshadowing, only for it to be never mentioned again. Love Hina Again features Keitaro's step-sister Kanako, who wants to claim him for herself. Throughout her attempted seduction of him she always refers to him as "big brother"...even when half-naked and cuddling up to him.
In Clannad, Tomoya's wild imagination causes him to imagine the Sunohara siblings as this when he misinterprets one of Mei's lines. In Marmalade Boy, Yuu and Miki become step-siblings when their parents marry (with both sets of parents splitting up and marrying each other), and then find themselves growing attracted to each other. Later in the series, they find evidence that they may be actually blood siblings; before they learn that this was all a big misunderstanding (said evidence wasn't referring to Yuu but to his mom's still-born child, who would've been his older sibling), they decide that they would marry regardless. Ore no Imouto ga Konna ni Kawaii Wake ga Nai - Whether or not siblings Kirino and Kyosuke do or don't have a sexual attraction/hidden desire to each other is the Elephant in the Living Room of the series. Despite sounding like the plot of an unbearably quirky absurdist comedy, Her comes about as close to a genuine romantic drama as its premise permits. The relationship between Joaquin Phoenix’s miserable Theodore and his husky-voiced operating system (Scarlett Johansson, obviously) is sincere and candid – on the part of both parties – and is played for neither easy laughs nor clever-clogs social satire. And while its central relationship may turn out to be even more prescient than we thought, the way the film draws a contrast between Theodore's readiness for a digital relationship and his complete incompetence when it comes to human intimacy has only become more timely in the near-decade since the film’s release. Such a simple reading does the film’s all-round cynicism a disservice: Douglas’s protagonist is also insipid, cowardly and weak. But in terms of pop-culture drawing up a response to the issues of the time, there can surely be few better case studies.Hoshina Utau from Shugo Chara loves the resident Bishonen catboy of the series, Tsukiyomi Ikuto. The thing is, her real family name is Tsukiyomi and she is Ikuto's sister, which does explain why Ikuto is so cold towards her advances—in fact, he's downright disgusted when she kisses him. I haven’t been the biggest fan of ‘The Graduate’ except for its ending which, in my opinion, is one of the finest ever in cinema. It’s quite difficult to relate to a coming-of-drama that’s more than 50 years old. But there are some amazing moments in the film that still hold up well and manage to move me tremendously. ‘The Graduate’ was a trendsetting phenomenon that changed the way coming-of-dramas were made. The feeling of angst and sexual tension felt by Benjamin is palpable. He is seduced by the wife of his father’s business partner but ends up falling in love with her daughter. As I said, it might not hold up well for modern audiences, but it’s still an incredible experience and an absolute fun ride. Interestingly, the Mangaka (according to her notes on the series) originally planned for them to discover that they were blood siblings and split up for good, eventually hitching up with their unrequited love interests (Ginta and Arimi) in a Distant Finale. Her editor went all "WTH?!" and convinced her that it wouldn't go down well with the fans... In the first example, a few of the last episodes of the series deconstructs Nanami's infatuation with her brother by introducing the possibility that they are not siblings they are siblings; Touga is just being manipulative and explores Nanami's emotional confusion resulting from that distancing.
But while all those movie all tended towards the fantastical or comedic, Spike Jonze's 2013 film is notable for playing its central romance – between a depressed divorcee and his Alexa-like virtual assistant – almost totally straight. You know what your problem is?" Reece Witherspoon tells a chastened Ryan Philippe in Cruel Intentions. "You take yourself way too seriously." Nothing could be less true of the film itself – and therein lay its brilliance. At one point in the Ah! My Goddess manga, a botched love potion fed to Keiichi causes any female to meet his eyes to become passionately infatuated with him—starting with his sister Megumi. She says, "Our love can transcend these foolish bonds of blood!" His horrified reaction: " Oh no it can't!" Fortunately, neutralizing the potion wipes her memory of the incident.In Shinkon Gattai Godannar, English pilot Knight Valentine will flirt with any female in sight, much to the consternation of Ellis, his sister and partner, who thinks he doesn't notice her. But if the way he looks at her swimsuit-clad form and the fact that he sees Ellis' face when an amnesiac Mila is hitting him with Charm Person are any indication, he does notice her in that way. Averted in Fist of the North Star when Juuza discovers his childhood sweetheart Yuria is actually his half-sister. They drift apart soon after, having never consummated their relationship. Boogie Nights laid the groundwork for films and TV shows Lovelace or The Deuce, which both examined the porn industry of that era with an unsentimental eye. But it also helped inspire things like Mad Men and Halt and Catch Fire: ensemble portraits of a devoted, in-and-out-of-love workforce who are shooting for the stars while the industry changes under their feet. Porn, it turns out, is a business much like any other. As tends to be the case with Haneke’s films, the disturbing behaviour on show is not given any neat explanation, nor is it satisfyingly resolved or conquered in the final act. The point, presumably, is that it is precisely this messiness and irrationality that makes such self-destructive compulsions so powerful: if they were easily explained, they would be easily overcome. His aim, he has said, is “to rape the spectator into autonomy”. Indeed.
In D.Gray-man, Komui's attitude toward his sister Lenalee straddles the line between Big Brother Instinct and this trope; even the other characters find it a little creepy and frequently remark on his obsession. And, for some irony, the one guy who's the exception, the one guy who can touch her because he treats her with dignity and compassion? He was attracted to her initially due to her resemblance to his big sister, and and given they share genetic implants tied to said sister that give Satellizer a genetic resemblance, they are an indirect example of this trope as well, except Kazuya Aoi (the guy, whose lost sister was named Kazuha) is a far, far better choice for Satellizer by far.
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Pretty much the fundamental appeal of Yosuga no Sora combining with Twincest. Both tropes are heavily deconstructed, as the sister's lust for her brother stems from her extreme emotional dependence on him, while the brother struggles with knowing that society won't accept their relationship. Also, them becoming a couple means they spend more time together, which is well noticed and leads to them getting caught. They end up moving overseas, hoping for a happy life together. Dokkoida deliberately plays with this trope since Suzuo's Mission Controller, Tampopo, disguises herself as his sister, Kosuzu, to blend into Earth society. The eighth episode in particular parodies this trope to the point of full-fledged Deconstruction: seeing a soap opera using this trope makes all of the Pretty Freeloaders in the apartment the characters live in worry about Kosuzu/Tampopo's relationship with Suzuo—including Kosuzu. Suzuo doesn't notice a thing, and manages to restore the status quo with a Dunno What's Going On, But... speech at the end. Candy Boy's main theme is the yuri subtext between (fraternal) twin sisters. The lyrics in the recap video appended to the first episode proclaim that "this may be the best pairing in the history of the world". Ahem. The maniacal teenage libido has been a mainstay of cinema for some decades. Likewise the trials of adolescent friendship, and likewise the rebellious thrill of an impromptu road trip. But never have all those elements been combined to such remarkable poignancy as in Alfonso Cuaron's timeless Mexican epic.
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