Sarah Gibson
dans le rôle de Director
The documentaire film Orgasmique: Le business OneTaste, starring Frank Fu, Yves Gore, etc., directed by Sarah Gibson, was released on November 5, 2022 in États-Unis. It tells the story of Rendue célèbre pour sa "méditation orgasmique", une société de bien-être sexuel est prise dans la tourmente suite aux accusations troublantes de plusieurs membres. This is a Documentaire, Crime film with a runtime of 89 minutes and its worldwide box office is not listed in the available detail data. It has received a rating of 5.7/10 from 1,594 viewers.
Sarah Gibson
dans le rôle de Director
Sloane Klevin
dans le rôle de Director
Frank Fu
dans le rôle de Self - Hymen
Yves Gore
dans le rôle de Self - Reenactment
Marissa Díaz
dans le rôle de Writer
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127A Smithfield Road, Frederiksted, Virgin Islands
Castle Rock Entertainment
21 victoires et 43 nominations au total
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Doc
1000
Bon film !
Bon film !
nice
Bon film !
source: Orgasm Inc: The Story of OneTaste
I witnessed much of the history of One Taste, and had many friends heavily involved. Some reactions to the movie: * I'm glad that they spent the first while in the show showing and talking about the good sides of what One Taste did and was, what drew people to it and what value people got from it, and that they let Nicole and One Taste speak for themselves * I am happy the movie introduced Nicole's top lieutenants like Rob and Rachel. It could have gone deeper with them, since it seemed to me that they did actually have a lot to do with how things went in OT (for good and bad). But it also seems right that the movie was as focused as it was on Nicole the twisted, broken, cold-hearted, charismatic genius. * With effort, they probably could have found twenty, thirty, fifty people formerly involved who would have been willing to be filmed spilling negative beans. Leaning so heavily on Chris Kosely, with random unshaved hairs sticking off his head, and the awkward woman who tripped over her words undermined their case, since they are physically unattractive and could just be dismissed as discontented outcasts. * It seemed wrong that they made it sound like rape was central to what was wrong with or a big part of what went on at One Taste, and repeatedly showed the video of the woman struggling to get a guy off of her (which I imagine may have been a filming of real violation scenario, or may have been play-acting for a workshop). I don't think there was much of it there. It did seem to me that people were sometimes rapidly and forcefully pushed beyond their comfort zones, realizing years later that they consented to something that it might have been healthier for them to have said "no" to. And I have had physical sexual boundary crossing at OT described to me by women who were involved in the community. But what it seemed to me was the central problem with OT, bigger than any of that, was instead that, so it seemed to me, much of its revenue model was basically based on semi-prostitution, which the movie just relatively briefly touched on. Find hot frisky open-minded relatively young women who are new in town or just went through a break up, love bomb them into involvement with and commitment to the community, help them to feel free alive beautiful and on the side of progress for being extra sexual, and then have them offer access to their sex to lonely affluent men (guys with more money than social skills). * I could easily have gotten wrapped up with OT, as I said many of my friends did (it was disconcerting to see friends in the movie, as well as the many One Taste regulars who I kind of knew), there was much interface of people, activities, and paradigms between OT and my social world. And I did have the intention for years to study OMing with them and admired the capacity for ease with physical and emotional intimacy and closeness that OT regulars seemed to have. But to me there was always something off-putting about the scene that had me keep my distance, and the revelations of the past few years validated that semi-conscious choice that I made.
I am confused, the IMDB credits show that there are paid actors in this movie. Why would you hire people to act in a "documentary"? Meanwhile I watched it and didn't see any scene in the movie labeled as a reenactment or dramatization, which I feel they should be required to divulge so the audience can have a grasp on what's real and what's recreated for effect. It just feels irresponsible to me to hire actors and not name the why, who, when, and what of it all. I'm guessing they did it to make this movie "sexier" maybe? It really didn't work for me. And honestly, the movie also felt a bit abrasive, in a manipulative kind of way, like the filmmakers were trying really really hard to scare the audience. I miss documentaries that present facts in a way that lets me discover my own opinion. This felt like a series of dramatic music cues, actors, and a few talking heads. I know "fear sells", so I get it, but also, who is making money off this movie? As I was looking up these actors, I read that the other people in the movie, the people who aren't actors, were not contacted about being in it, and I'm assuming they did not get paid. Apparently the videos of these non actors was actually stolen and then used in the movie without their consent. That's kinda messed up.
This is just horrific. Some people are true psychopaths and there should be more strict laws for people taking advantage and manipulating the more sensitive ones or traumatized ppl. And not traumatize them even more. It made me sick to watch it until the end. And i am shocked that this person and others envolved in abuse off all kinds are still free. The documentary started with kind a positive vibes, even though i was expecting that some kind of fraud was involved. But this was some other level of evil. Zero empathy! This is a true horror story of an inhumanity. And she is still among people!?!
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Les comédies sont conçues pour divertir par l'humour. Les formats populaires incluent la comédie de situation, l'humour à sketches, la comédie au travail et la comédie romantique.
Les œuvres d'action mettent l'accent sur l'excitation, le conflit physique, les personnages héroïques et une narration rythmée. Les œuvres d'aventure reposent souvent sur l'exploration, la survie ou des voyages épiques.
Les drames policiers suivent des enquêteurs, détectives, avocats ou journalistes qui résolvent des affaires criminelles. Les récits à mystère encouragent le public à découvrir des indices avec les personnages.
La science-fiction explore la technologie futuriste, les voyages spatiaux, l’intelligence artificielle, les réalités alternatives et les hypothèses scientifiques.
Le récit d'horreur crée le suspense par la tension psychologique, les événements surnaturels, les monstres ou les scénarios de survie.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.
L'animation rassemble des œuvres pour enfants, familles et adultes, allant du contenu éducatif aux récits dramatiques complexes.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.