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The delightfully deadpan heroine for the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his own novel on the same name, could be compared to Amélie on Xanax. Her day-to-day life is filled with chance interactions as well as a fascination with strangers, even though, at 27, she’s more concerned with trying to change her very own circumstances than with facilitating random functions of kindness for others.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s effect on Black cops once Russell begins resorting to murderous underworld practices. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as the Sunshine, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of identity more than anything else.
It wasn’t a huge hit, but it was on the list of first important LGBTQ movies to dive into the intricacies of lesbian romance. It had been also a precursor to 2017’s
Other fissures arise along the family’s fault lines from there as the legends and superstitions of their previous once again become as viscerally powerful and alive as their difficult love for each other. —RD
To the audio commentary that Terence Davies recorded for the Criterion Collection release of “The Long Working day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual feeling of disregard: “To be a repressed homosexual, I’ve always been waiting for my love to come.
Figuratively (and almost literally) the ultimate movie of your 20th Century, “Fight Club” is definitely the story of an average white American guy so alienated from his identification that he becomes his very own
From the films of David Fincher, everybody needs a foil. His movies generally boil down towards the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
A cacophonously intimate character study about sex 4k a woman named Julie (a 29-year-previous Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for just a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The concept that life is ever as understandable as human subjectivity (or that of a film camera) can make it look.
And yet “Eyes Wide Shut” hardly demands its astounding meta-textual mythology (which includes the tabloid fascination around Tom Cruise and Nicole Kidman’s ill-fated marriage) to earn its place since the definitive film on the nineties. What’s more significant is that its release in the last year in the last ten years in the 20th century feels like a fated rhyme for that fin-de-siècle Electrical power of Schnitzler’s novella — set in Vienna roughly a hundred years before — a rhyme that resonates with another story about upper-class people floating so high above lesbian strapon their personal lives they can see the whole world clearly save for that abyss that’s yawning open allporncomic at their feet.
Emir Kusturica’s characteristic exuberance and frenetic pacing — which frequently feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Power spilling across the tortured spirit of his beloved Yugoslavia as being the country endured through an extended duration of disintegration.
Adapted from the László Krasznahorkai novel with the same name and maintaining the book’s dance-impressed chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a man named Irimiás — played by composer Mihály Vig — to “return from the dead” and prey about the desolation he finds among the desperate and easily manipulated townsfolk.
” The kind of movie that invented phrases like “offbeat” and “quirky,” this film makes lower-funds filmmaking look easy. Released in 1999 within the tail conclusion of The brand new Queer Cinema wave, “But I’m a Cheerleader” bridged the hole between the first scrappy queer indies as well as hyper-commercialized “The L Word” era.
“The Truman Show” may be the rare high concept movie that executes its eye-catching premise to complete streamsex perfection. The idea of a man who wakes as much as learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew sisswap Niccol managed to craft a plausible dystopian satire that has as much to state about our relationships with God since it does our relationships with the Kardashians.
is perhaps the first feature film with fully rounded female characters that are attracted to each other without that attraction being contested by a male.” In line with Curve