ᱯᱷᱚᱨᱥᱰ ᱤᱱᱴᱨᱤ (᱑᱙᱗᱓ ᱟᱢᱮᱨᱤᱠᱟᱱ ᱯᱷᱤᱞᱢ)

ᱯᱷᱚᱨᱥᱰ ᱤᱱᱴᱨᱤ ᱫᱚ ᱑᱙᱗᱓ ᱥᱮᱨᱢᱟ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱮᱰᱟᱞᱴ ᱦᱚᱨᱟᱨ ᱯᱷᱤᱞᱢ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱫᱚ ᱦᱮᱞᱢᱩᱛ ᱨᱤᱪᱞᱟᱨ ᱦᱩᱫᱽᱦᱟᱹᱭᱟᱹ ᱨᱮ ᱥᱟᱣᱩᱱ ᱠᱚᱥᱴᱮᱞᱳ ᱚᱞ ᱟᱨ ᱥᱟᱯᱲᱟᱣ ᱞᱮᱫᱟᱭ ᱾ ᱱᱚᱶᱟ ᱨᱮ ᱦᱮᱨᱤ ᱨᱤᱢᱥ (ᱴᱤᱢ ᱞᱚᱝ ᱧᱩᱛᱩᱢᱛᱮ ᱩᱯᱨᱩᱢ ᱟᱠᱟᱱ ᱢᱤᱫ ᱧᱩᱛᱩᱢ ᱵᱟᱝ ᱫᱚᱦᱚ ᱟᱨ ᱢᱚᱱᱳᱡᱟᱹᱭᱟᱱ ᱵᱷᱤᱛᱮᱱᱟᱢ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱨᱮᱱ ᱢᱟᱨᱮᱱ ᱦᱚᱲ ᱞᱮᱠᱟᱛᱮ ᱡᱟᱦᱟᱸᱭ ᱫᱚ ᱯᱮᱞᱤᱝ ᱥᱴᱮᱥᱚᱱ ᱨᱮ ᱡᱟᱦᱟᱸᱭ ᱛᱤᱨᱞᱟᱹ ᱠᱚ ᱨᱤᱦᱤᱴ ᱞᱮᱱᱟ ᱡᱟᱦᱟᱸᱭ ᱠᱚ ᱩᱱᱤ ᱢᱤᱫᱴᱟᱝ ᱮᱴᱮᱱᱰᱮᱱᱴ ᱞᱮᱠᱟᱛᱮ ᱠᱟᱹᱢᱤ ᱞᱮᱫᱟ ᱩᱱᱠᱩ ᱪᱮᱛᱟᱱ ᱡᱳᱜᱟᱹᱣ ᱟᱨ ᱜᱚᱡ ᱨᱮᱭᱟᱜ ᱠᱟᱹᱢᱤ ᱟᱠᱟᱫᱟᱭ ᱾ "ᱱᱤᱛ ᱦᱟᱵᱤᱡ ᱛᱮ ᱵᱮᱱᱟᱣ ᱟᱠᱟᱱ ᱡᱚᱛᱚ ᱠᱷᱚᱱ ᱵᱷᱮᱜᱟᱨ ᱟᱨ ᱵᱟᱹᱲᱤᱡ ᱯᱳᱨᱱᱳ ᱯᱷᱤᱞᱢ" ᱢᱮᱱᱛᱮ ᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱯᱷᱤᱞᱢ ᱨᱮ ᱫᱚ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱨᱮᱱᱟᱜ ᱥᱟᱹᱨᱤ ᱠᱟᱛᱷᱟ ᱠᱚ ᱵᱮᱵᱷᱟᱨ ᱟᱠᱟᱱᱟ, ᱡᱟᱦᱟᱸ ᱫᱚ ᱵᱟᱹᱲᱛᱤ ᱠᱟᱛᱮ ᱜᱚᱡ ᱟᱨ ᱜᱚᱡ ᱨᱮᱱᱟᱜ ᱯᱷᱤᱞᱢ ᱠᱚᱨᱮ ᱵᱮᱵᱷᱟᱨ ᱟᱠᱟᱱᱟ ᱾

 ᱯᱚᱞᱚᱴ 
ᱵᱷᱤᱭᱮᱴᱱᱟᱢ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱟᱨ ᱚᱱᱟ ᱠᱷᱚᱱ ᱨᱩᱣᱟᱹᱲ ᱦᱮᱡ ᱢᱟᱨᱠᱤᱱ ᱯᱷᱟᱹᱫ ᱠᱚᱣᱟᱜ ᱢᱚᱱᱚᱥᱚᱱᱚ ᱦᱟᱞᱚᱛ ᱥᱟᱞᱟᱜ ᱡᱳᱜᱟᱡᱳᱜ ᱟᱨ ᱞᱟᱹᱭ ᱥᱚᱫᱚᱨ ᱠᱟᱛᱮ ᱠᱷᱚᱵᱚᱨ ᱥᱟᱠᱟᱢ ᱨᱮ ᱚᱱᱚᱞ ᱮᱛᱚᱦᱚᱵ ᱛᱟᱭᱚᱢ, ᱥᱟᱥᱚᱱᱤᱭᱟᱹ ᱠᱚ ᱢᱤᱫᱴᱟᱝ ᱞᱟᱹᱞᱤᱥ ᱨᱮᱭᱟᱜ ᱴᱷᱟᱶ ᱨᱮ ᱛᱚᱞᱟᱥ ᱞᱟᱹᱜᱤᱫ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱟᱠᱟᱱᱟ , ᱡᱟᱦᱟ ᱨᱮ ᱢᱤᱫ ᱦᱚᱲ ᱟᱜ ᱢᱮᱲᱟ ᱨᱮ ᱜᱷᱟᱹᱞ ᱞᱮᱱᱟ ᱾

ᱢᱤᱫ ᱵᱟᱨ ᱚᱠᱛᱚ ᱛᱟᱭᱚᱢ ᱥᱮᱫ ᱥᱮᱱ ᱠᱟᱛᱮ ᱧᱮᱞ ᱟᱠᱟᱱᱟ ᱡᱮ , ᱩᱱᱤ ᱦᱚᱲ ᱜᱮᱥ ᱥᱴᱮᱥᱚᱱ ᱨᱮᱱ ᱢᱤᱫ ᱠᱟᱹᱢᱤᱭᱟᱹ ᱟᱨ ᱩᱱᱤ ᱫᱚ ᱢᱤᱫ ᱛᱤᱨᱞᱟᱹ ᱠᱤᱨᱤᱧᱤᱭᱟᱹ ᱫᱚ ᱩᱱᱤᱭᱟᱜ ᱧᱩᱛᱩᱢ ᱟᱨ ᱛᱚᱛᱛᱚᱨ ᱮᱢ ᱞᱟᱹᱜᱤᱫ ᱛᱮ ᱠᱨᱮᱰᱤᱴ ᱠᱟᱨᱰ ᱨᱮᱭᱟᱜ ᱵᱤᱵᱮᱫᱟ ᱞᱟᱹᱜᱤᱫ ᱚᱱᱟ ᱨᱮᱭᱟᱜ ᱞᱟᱹᱠᱛᱤ ᱢᱮᱱᱟᱜᱼᱟ ᱢᱮᱱᱛᱮ ᱠᱚ ᱫᱟᱵᱤ ᱞᱮᱫᱟ ᱾ ᱛᱤᱨᱞᱟᱹ ᱫᱚ ᱪᱟᱞᱟᱣ ᱛᱟᱭᱚᱢ , ᱠᱟᱹᱢᱤᱭᱟᱹ ᱫᱚ ᱟᱡᱟᱜ ᱮᱯᱟᱨᱴᱢᱮᱱᱴ ᱚᱲᱟᱜ ᱨᱮᱭ ᱪᱟᱞᱟᱣ ᱮᱱᱟ ᱟᱨ ᱢᱤᱫᱴᱟᱝ ᱡᱟᱠᱚᱞ ᱛᱟᱞᱟᱛᱮ ᱧᱮᱞ ᱞᱮᱫᱟ ᱡᱮ ᱩᱱᱤ ᱫᱚ ᱟᱡ ᱨᱮᱱ ᱵᱟᱹᱦᱩ ᱥᱟᱶᱛᱮ ᱡᱳᱜᱟᱡᱳᱜ ᱟᱠᱟᱫᱟᱭ ᱾ ᱵᱟᱯᱞᱟ ᱛᱟᱭᱚᱢ ᱟᱡ ᱠᱚᱲᱟ ᱮᱯᱟᱨᱴᱢᱮᱱᱴ ᱨᱮ ᱦᱮᱡ ᱮᱱᱟ ᱟᱨ ᱛᱤᱨᱞᱟᱹ ᱫᱚ ᱟᱡ ᱪᱮᱛᱟᱱ ᱨᱮ ᱳᱣᱟᱨᱮᱞ ᱥᱮᱠᱚᱥ ᱠᱚᱨᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱮ ᱡᱳᱨ ᱞᱮᱫᱟ ᱟᱨ ᱩᱱᱤ ᱫᱚ ᱢᱩᱪᱟᱹᱫ ᱥᱮᱫ ᱥᱮᱱ ᱛᱟᱭᱚᱢ ᱟᱡ ᱨᱮᱱ ᱜᱷᱟᱹᱞ ᱠᱟᱛᱮ ᱟᱡ ᱪᱮᱛᱟᱱ ᱨᱮ ᱞᱟᱹᱞᱤᱥ ᱮ ᱥᱚᱫᱚᱨ ᱞᱮᱫᱟ ᱾

ᱜᱮᱥ ᱥᱴᱮᱥᱚᱱ ᱨᱮ ᱨᱩᱣᱟᱹᱲ ᱦᱮᱡ ᱛᱟᱭᱚᱢ , ᱠᱟᱹᱢᱤᱭᱟᱹ ᱫᱚ ᱢᱤᱫᱴᱟᱝ ᱜᱷᱳᱨ ᱟᱠᱟᱱ ᱢᱳᱭᱟᱴᱚᱨ ᱪᱟᱞᱟᱣᱤᱡ ᱮ ᱞᱟᱹᱭ ᱥᱚᱫᱚᱨ ᱠᱮᱫᱟ ᱟᱨ ᱩᱱᱤ ᱡᱟᱦᱟᱸ ᱛᱚᱛᱛᱚᱨ ᱮ ᱛᱚᱞᱟᱥ ᱞᱮᱫᱟ ᱚᱱᱟ ᱥᱮᱫ ᱮ ᱥᱮᱱ ᱮᱱᱟ ᱾ ᱦᱚᱲ ᱫᱚ ᱚᱲᱟᱜ ᱨᱮ ᱜᱷᱟᱹᱞ ᱠᱟᱛᱮ ᱛᱤᱨᱞᱟᱹ ᱫᱚ ᱥᱟᱣᱟᱨ ᱠᱷᱚᱱ ᱮᱧᱩᱞ ᱠᱟᱛᱮ ᱟᱨ ᱩᱱᱤ ᱫᱚ ᱜᱷᱟᱹᱞ ᱨᱮᱭᱟᱜ ᱞᱟᱹᱞᱤᱥ ᱛᱮ ᱟᱡ ᱪᱮᱛᱟᱱ ᱨᱮ ᱜᱷᱟᱹᱞ ᱞᱟᱹᱜᱤᱫ ᱮ ᱡᱳᱨ ᱞᱮᱫᱮᱭᱟ ᱾ ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱩᱱᱤ ᱫᱚ ᱩᱱᱤ ᱫᱚ ᱟᱡ ᱪᱮᱛᱟᱱ ᱨᱮ ᱜᱷᱟᱹᱞ ᱠᱟᱛᱮ ᱟᱨ ᱩᱱᱤ ᱜᱚᱡ ᱛᱟᱭᱚᱢ ᱩᱱᱤ ᱫᱚ ᱪᱩᱢ ᱞᱮᱫᱮᱭᱟ ᱾ ᱛᱟᱭᱚᱢᱛᱮ ᱢᱤᱫ ᱦᱚᱲ ᱜᱟᱹᱛᱤᱞ ᱛᱤᱨᱞᱟᱹ ᱦᱤᱯᱤᱯᱤ ᱢᱤᱫ ᱞᱮᱠᱟ ᱵᱷᱚᱯᱤᱰ ᱦᱤᱪᱤᱠᱟᱨ ᱦᱟᱛᱟᱣ ᱠᱟᱛᱮ ᱵᱟᱱᱟᱨ ᱜᱮᱥ ᱥᱴᱮᱥᱚᱱ ᱨᱮ ᱪᱟᱞᱟᱜ ᱟ ᱾ ᱠᱟᱹᱢᱤᱭᱟᱹ ᱫᱚ ᱰᱨᱟᱭᱵᱷᱟᱨ ᱫᱚ ᱩᱱᱤᱭᱟᱜ ᱧᱩᱛᱩᱢ ᱮᱢ ᱞᱟᱹᱜᱤᱫ ᱛᱮ ᱠᱷᱮᱹᱞ ᱞᱮᱫᱟᱭ ᱟᱨ ᱩᱱᱤᱭᱟᱜ ᱚᱲᱟᱜ ᱮ ᱪᱟᱞᱟᱣ ᱮᱱᱟ , ᱡᱟᱦᱟᱸᱨᱮ ᱩᱱᱤ ᱟᱨ ᱩᱱᱤ ᱨᱮᱱ ᱜᱟᱛᱮ ᱫᱚ ᱰᱨᱟᱜᱽᱥ ᱮᱢ ᱟᱠᱟᱫᱟᱭ ᱟᱨ ᱡᱳᱜᱟᱡᱳᱜ ᱟᱠᱟᱫᱟᱭ ᱾ ᱠᱟᱹᱢᱤᱭᱟᱹ ᱫᱚ ᱚᱲᱟᱜ ᱨᱮᱭ ᱥᱮᱴᱮᱨ ᱞᱮᱱᱟ ᱟᱨ ᱠᱩᱲᱤ ᱠᱚ ᱟᱡ ᱴᱷᱮᱱ ᱠᱚ ᱥᱟᱵ ᱫᱚᱦᱚ ᱞᱟᱹᱜᱤᱫ ᱠᱚ ᱡᱳᱨ ᱞᱮᱫ ᱠᱚᱣᱟ , ᱢᱮᱱᱠᱷᱟᱱ ᱵᱟᱱᱟᱨ ᱦᱚᱲᱜᱮ ᱟᱹᱰᱤ ᱟᱹᱰᱤ ᱱᱤᱥᱟᱹᱭᱟ , ᱡᱟᱦᱟᱸ ᱫᱚ ᱩᱱᱤ ᱫᱚ ᱟᱹᱰᱤ ᱜᱟᱹᱛᱤᱞ ᱞᱮᱠᱟᱛᱮ ᱦᱟᱛᱟᱣ ᱵᱟᱝ ᱫᱟᱲᱮᱹᱭᱟᱜᱼᱟ ᱾ ᱩᱱᱤ ᱫᱚ ᱞᱟᱹᱭ ᱥᱚᱫᱚᱨ ᱞᱮᱫᱟᱭ ᱡᱮ , " ᱤᱧ ᱴᱷᱮᱱ ᱠᱷᱚᱱ ᱮᱲᱟᱣ ᱢᱮ ᱟᱨ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱟᱨ ᱩᱱᱤ ᱫᱚ ᱠᱚᱨᱟᱣ ᱟᱠᱟᱱ ᱜᱟᱹᱨᱰᱩ ᱟᱨ ᱜᱚᱡ ᱵᱟᱨᱮᱛᱮ ᱟᱭᱢᱟ ᱯᱷᱚᱞᱮᱥᱵᱮᱠ ᱢᱮᱱᱟᱜᱼᱟ ᱾ ᱼᱼᱼᱼᱼᱟᱱᱤᱡ ᱫᱚ ᱟᱡ ᱪᱮᱛᱟᱱ ᱨᱮ ᱜᱷᱟᱹᱞ ᱠᱟᱛᱮ ᱠᱚ ᱜᱚᱡ ᱞᱮᱱᱟ ᱾ ᱦᱚᱲ ᱠᱚᱣᱟᱜ ᱦᱚᱲᱢᱚ ᱨᱮ ᱨᱩᱣᱟᱹᱲ ᱦᱮᱡ ᱛᱟᱭᱚᱢ ᱢᱤᱫᱴᱟᱝ ᱪᱮᱯ ᱛᱮ ᱠᱚᱵᱩᱴᱟᱹᱣ ᱠᱟᱛᱮ ᱯᱩᱞᱤᱥ ᱠᱚ ᱤᱫᱤ ᱠᱟᱛᱮ ᱠᱚ ᱤᱫᱤ ᱞᱮᱫ ᱠᱚᱣᱟ ᱾

 ᱯᱟᱴ ᱠᱟᱹᱢᱤᱭᱟᱹ 

 ᱦᱮᱨᱤ ᱨᱮᱢᱥ (ᱜᱮᱥ ᱥᱴᱮᱥᱚᱱ ᱮᱴᱮᱱᱰᱮᱱᱴ ᱞᱮᱠᱟᱛᱮ ᱴᱤᱢ ᱞᱚᱝ)
 ᱞᱳᱨᱟ ᱠᱮᱱᱚᱱ , ᱦᱳᱞᱰ ᱰᱨᱟᱭᱵᱷᱟᱨ ᱞᱮᱠᱟᱛᱮ ᱾
 ᱫᱟᱵᱤᱰ ᱨᱮᱱ ᱮᱨᱟ ᱞᱮᱠᱟᱛᱮ ᱡᱩᱴᱟ ᱫᱟᱵᱤᱰ ᱾
 ᱰᱮᱵᱤᱰ ᱟᱜ ᱪᱩᱨᱤᱛ ᱨᱮ ᱥᱟᱣᱩᱱ ᱠᱚᱥᱴᱮᱞᱳ ᱾
 ᱦᱤᱯᱤ ᱜᱟᱨᱞ ᱪᱩᱨᱤᱛ ᱨᱮ ᱨᱩᱭᱤ ᱨᱟᱱᱦᱚᱭᱩᱥ
 ᱦᱤᱯᱤ ᱜᱟᱨᱞ ᱪᱩᱨᱤᱛ ᱨᱮ ᱱᱟᱱᱟ ᱯᱷᱟᱥᱮᱴ

 ᱧᱟᱢ ᱟᱠᱷᱟᱲᱟ 
ᱩᱱᱤᱭᱟᱜ ᱡᱤᱭᱚᱱᱼᱵᱚᱭᱤ ᱨᱮ ᱯᱟᱴᱷᱚᱠᱤᱭᱟᱹ ᱦᱮᱨᱤ ᱨᱮᱢᱥ ᱚᱞ ᱞᱮᱫᱟᱭ ᱡᱮ , ᱯᱷᱳᱨᱥᱰ ᱮᱱᱴᱨᱤ ᱢᱤᱫᱴᱟᱝ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱠᱚᱨᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱩᱱᱤ ᱫᱚ ᱚᱱᱢᱟᱱ ᱞᱮᱱᱟᱭ ᱾

ᱰᱤᱵᱷᱤᱰᱤ ᱴᱚᱠ ᱪᱤᱛᱟᱹᱨ ᱫᱚ ' ᱡᱤᱨᱟ ᱥᱴᱟᱨ ' ᱮ ᱮᱢ ᱞᱮᱫᱟ , ᱟᱨ ᱱᱚᱶᱟ ᱫᱚ ' ᱢᱳᱨᱟᱞᱤ ᱨᱮ ᱨᱮᱜᱽᱱᱮᱱᱴ ' ᱢᱮᱱᱛᱮ ᱠᱚ ᱢᱮᱱ ᱞᱮᱫᱟ ᱾

ᱪᱤᱛᱟᱹᱨ ᱫᱚ ᱞᱟᱹᱭ ᱥᱚᱫᱚᱨ ᱠᱟᱛᱮ " ᱵᱷᱤᱛᱮᱱᱟᱢ ᱠᱷᱚᱱ ᱚᱲᱟᱜ ᱦᱮᱡ ᱢᱤᱫ ᱵᱟᱹᱲᱤᱡ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱵᱷᱮᱴ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱞᱟᱹᱜᱤᱫ ᱯᱳᱭᱞᱳ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ " ᱮᱰ ᱰᱮᱢᱠᱳ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱫᱚ " ᱚᱱᱟ ᱚᱠᱛᱚ ᱨᱮᱭᱟᱜ ᱯᱳᱨᱱᱳᱯᱷᱮᱨᱟᱡᱤ ᱨᱮᱭᱟᱜ ᱚᱠᱛᱚ ᱠᱷᱚᱱ ᱦᱮᱡ ᱟᱠᱟᱱ ᱟᱨᱦᱚᱸ ᱰᱷᱮᱨ ᱞᱟᱹᱠᱛᱤᱭᱟᱱ ᱟᱨ ᱯᱚᱨᱤᱥᱮᱵᱟ ᱟᱱᱟᱜ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱠᱚ ᱢᱩᱫᱨᱮ ᱢᱤᱫᱴᱟᱝ " ᱢᱮᱱᱛᱮ ᱞᱟᱹᱭ ᱟᱠᱟᱫᱟ ᱾ ᱱᱚᱶᱟ ᱫᱚ ᱢᱤᱫ ᱯᱷᱤᱞᱢ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱫᱚ ᱱᱚᱶᱟ ᱯᱷᱤᱞᱢ ᱵᱮᱱᱟᱣ ᱟᱠᱟᱱ ᱚᱠᱛᱚ ᱵᱷᱤᱛᱨᱤ ᱠᱷᱚᱱ ᱟᱹᱰᱤ ᱢᱟᱨᱟᱝ ᱜᱮᱭᱟ ᱟᱨ ᱱᱚᱶᱟ ᱫᱚ ᱱᱚᱶᱟ ᱯᱷᱤᱞᱢ ᱵᱮᱱᱟᱣ ᱟᱠᱟᱱ ᱚᱠᱛᱚ ᱠᱷᱚᱱ ᱦᱚᱸ ᱵᱟᱹᱲᱛᱤ ᱢᱩᱬᱩᱛ ᱜᱮᱭᱟ ᱾ ᱜᱚᱴᱟ ᱪᱤᱛᱟᱹᱨ ᱨᱮ ᱢᱤᱫ ᱴᱩᱱ ᱵᱟᱹᱲᱤᱡ ᱡᱳᱜᱟᱹᱣ ᱠᱟᱹᱢᱤ ᱢᱮᱱᱟᱜᱼᱟ ᱢᱮᱱᱠᱷᱟᱱ ᱥᱟᱛᱟᱢ ᱟᱨ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱫᱚ ᱡᱟᱦᱟᱸ ᱞᱟᱹᱭ ᱟᱠᱟᱫᱟ ᱚᱱᱟ ᱚᱱᱟ ᱠᱷᱚᱱ ᱦᱚᱸ ᱡᱟᱹᱥᱛᱤ ᱾

 ᱵᱤᱪᱷᱚᱱᱟ 
In "Forced Entry: Serial Killer Pornography as Patriarchical Paradox", scholar Robert Cettl assesses the film's role as pivotal in the history of American serial killer films and discusses its subversion of American patriarchy "by highlighting a paradox in relation to hegemonic masculinity" and how the director turns pornography "into self-conscious political discourse", arguing the film critiques patriarchical reaction to second-wave feminism (represented by the independently-living female victims) as grounded in war-mongering (rape-murder scenes interspersed with footage from the Vietnam War) and ultimately doomed to self-implosion (the killer's suicide).

 ᱨᱤᱢᱤᱠᱮ 
᱑᱙᱗᱕ ᱥᱮᱨᱢᱟ ᱨᱮ, ᱛᱟᱱᱭᱟ ᱨᱚᱯᱟᱨᱴᱥ ᱟᱨ ᱨᱚᱱ ᱢᱮᱠᱥ ᱯᱟᱴ ᱠᱟᱛᱮ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱫᱚ ᱟᱨᱼᱨᱮᱴ ᱨᱮ ᱠᱟᱹᱢᱤ ᱦᱩᱭ ᱞᱮᱱᱟ ᱾

 ᱱᱚᱶᱟ ᱦᱚᱸ ᱧᱮᱞ ᱢᱮ 

 List of American films of 1973
 List of mainstream movies with unsimulated sex

 ᱥᱟᱹᱠᱷᱭᱟᱹᱛ 

ᱛᱷᱚᱠ:᱑᱙᱗᱓ ᱨᱮᱭᱟᱜ ᱟᱢᱮᱨᱤᱠᱟᱱ ᱯᱷᱤᱞᱢ
ᱛᱷᱚᱠ:ᱯᱚᱨᱱᱚᱜᱽᱨᱟᱯᱷᱤᱠ ᱦᱚᱨᱚᱨ ᱯᱷᱤᱞᱢ
ᱛᱷᱚᱠ:ᱯᱚᱨᱱᱚᱜᱽᱨᱟᱯᱷᱤᱠ ᱦᱚᱨᱨᱚᱨ ᱯᱷᱤᱞᱢ