I do like the picture from the Gezi Park protests with the girl holding a tote bag, sprayed by police. This one is rather suspicious, like it was planned to mix a Delacroix with those (very staged) Gursky photos of raves. And then there’s the flag.
By the way, why is Behind the Candelabra so disgusting? Soderbergh apparently took years to make the film, but it’s hard to understand what it is about. Liberace’s extravagance? The price of fame (i.e. dirt everywhere)? A nip at the Kenneth Anger goldmine of lewd rumours? To me it looks like redeeming camp through realism, filling the fantasy with emotional “depth” and blownup drama. Camp cannot be redeemed, so the operation is more like a repackaging for mass audiences. So, in true Zizekian manner, it’s no longer an “in spite of”, but a “precisely because of”: Liberace in all his grace, taking it in the ass. When Damon’s character later yelps that they were “married”, there comes the sweet hand of legitimacy. But on the other hand, if this is a portrayal of homosexuality as a crime against nature (Liberace remakes Scott as his son), isn’t marriage the civilizing act that can preempt [incestual] abuse, impose true equality, etc?