The result is surely an impressionistic odyssey that spans time and space. Seasons change as backdrops shift from cityscapes to rolling farmland and back. Locations are never specified, but lettering on symptoms and snippets of speech lend clues regarding where Akerman has placed her camera on any given occasion.
is about working-class gay youths coming together in South East London amid a backdrop of boozy, toxic masculinity. This sweet story about two high school boys falling in love for that first time gets extra credit rating for introducing a younger generation into the musical genius of Cass Elliott from The Mamas & The Papas, whose songs dominate the film’s soundtrack. Here are more movies with the best soundtracks.
Even more acutely than both in the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic secret of how we might all mesh together.
Well, despite that--this was among my fav Korean BL shorts and I Totally loved the subtle and soft chemistry between the guys. They were just somehow perfect together, in a means I can't quite place my finger on.
Hopkins’ Hannibal Lecter is one of the great villains in film history, pairing his heinous acts with just the right level of warm-but-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game for that ages. The film had to walk an extremely fragile line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were able to do precisely that.
Shot in kinetic handheld from beginning to finish in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a work to aid herself and her alcoholic mother.
“He exists now only in my memory,” Rose said of Jack before sharing her story with Invoice Paxton (RIP) and his crew; via the time she reached the tip of it, the late Mr. Dawson would be remembered by the entire world. —DE
Davis renders period piece scenes like a Oscar Micheaux-encouraged black-and-white silent film replete with inclusive intertitles and archival photographs. One particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie in a theater. It’s quick, but exudes Black Pleasure by granting a rare historical nod recognizing how Black people redtube with the past experienced more than crushing hardships.
But Kon is clearly less interested inside the (gruesome) slasher angle lovable trannie enjoys facials after anal sex than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors effect that wedges the starlet further more away from herself with every subsequent trauma — real or imagined — until the imagined comes to think a reality all its own. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-identification would become its personal kind of public bloodsport (even from weaning the absence of fame and folies à deux).
A poor, overlooked movie obsessive who only feels seen from the neo-realism of his country’s nationwide cinema pretends to be his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films experienced allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home with the affluent Iranian family where he “wanted to shoot his next film” — Sabzian arouses the interest of a (very) different neighborhood auteur who’s fascinated by his story, by its inherently cinematic deception, and with the counter-intuitive likelihood that it presents: If Abbas Kiarostami staged a documentary around this male’s fraud, he could effectively cast Sabzian because the lead character of the movie that Sabzian had always wanted someone to make about his suffering.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast phonerotica with the busty colored hair babe in heels banged madcap Power of a “Lupin the III” episode, begins with The very fact that Gabor doesn’t even test (the recent flimsiness of his knife-throwing act implies an impotence of the different kind).
Drifting around Vienna over a single night — the pair meet with a train and must part ways come morning — Jesse and Celine engage in a number of free-flowing exchanges as they wander the city’s streets.
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
The film features on the list of most enigmatic titles of the ten years, the strange, sonorous juxtaposition of those two words almost always presented within the original French. It could be examine as “beautiful work” in English — but the thought of describing work as “beautiful” is somehow dismissive, as When the legionnaires’ highly choreographed routines and domestic tasks are more of a performance than part of the advanced military method.