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Underneath the cultural kitsch of all of it — the screaming teenage fans, the “king of your world” egomania, the instantly universal language of “I want you to draw me like one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s possess obsession with the Ship of Dreams (which he naturally cast to play itself in a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between past and present), and continues with every facet of the script that revitalizes its basic story of star-crossed lovers into something iconic.
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central towards the story. When an Anglo-Asian guy (
To discuss the magic of “Close-Up” is to discuss the magic in the movies themselves (its title alludes to some particular shot of Sabzian in court, but also to the sort of illusion that happens right in front of your face). In that light, Kiarostami’s dextrous work of postrevolutionary meta-fiction so naturally positions itself as on the list of greatest films ever made because it doubles because the ultimate self-portrait of cinema itself; of the medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
Duqenne’s fiercely determined performance drives every body, because the restless young Rosetta takes on challenges that no-one — Enable alone a youngster — should ever have to face, such as securing her next meal or making sure that she and her ullu web series video mother have running water. Eventually, her learned mistrust of other people leads her to betray the one particular friend she has in order to steal his job. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded from her; the film opens as she’s being fired from a factory work from which she should be dragged out kicking and screaming, johnny sins and it ends with her in much the same state.
Adapted from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (go through by Giovanni Ribisi), the film friends into the lives of your Lisbon sisters alongside a clique of neighborhood boys. Mesmerized with the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a way of longing that is by turns amorous and meditative.
That query is vital to understanding the film, whose hedonism is solely a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s course is cold and medical, the near-consistent fucking mechanical and indiscriminate. The only time “Crash” really comes alive is while in the instant between anticipating Dying and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle as being a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
These days, it might be hard to pornmz different Werner Herzog from the meme-driven caricature that he’s cultivated Because the achievements of “Grizzly Person” — his deadpan voice, his love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they are definitely the most horrifying, cannibalistic, and nightmarish creatures during the world.
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Even better. A testament to your power of big ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to make use of it to do nothing less than save the entire world with it.
experienced the confidence or maybe the cocaine or whatever the hell it took to attempt something like this, because the bigger the movie gets, the more it seems like it couldn’t afford to generally be any smaller.
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Claire Denis’ “Beau Travail” unfurls coyly, revealing one indelible image after another without ever fully giving itself away. Released for the tail finish of your millennium (late and liminal enough that people have long mistaken it for an item with the 21st century), the French auteur’s sixth feature demonstrated her masterful power to build a story by her own fractured design, her work generally composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next day.