The result can be an impressionistic odyssey that spans time and space. Seasons adjust as backdrops change from cityscapes to rolling farmland and back. Places are never specified, but lettering on symptoms and snippets of speech lend clues as to where Akerman has placed her camera on any given occasion.
Underneath the cultural kitsch of everything — the screaming teenage fans, the “king with the world” egomania, the instantly common 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 individual obsession with the Ship of Dreams (which he naturally cast to play itself inside of 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 a script that revitalizes its essential story of star-crossed lovers into something legendary.
The cleverly deceitful marketing campaign that turned co-administrators Daniel Myrick and Eduardo Sánchez’s first feature into one of many most profitable movies because “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the usage of something called a “website”).
Established in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning for a film history that reflects someone who looks like her, Cheryl embarks on the journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever had.
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auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman to the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over common feeling at every possible juncture — how else to clarify Léon’s superhuman capability to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
Ada is insular and self-contained, but Campion outfitted the film with some unique touches that allow Ada to give voice to her passions, care of the inventive voiceover that is presumed to come from her brain, rather than her mouth. While Ada suffers a number of profound setbacks after her arrival, mostly stemming from her husband’s refusal to house her beloved piano, her fortunes modify when George promises to take it in, asking for lessons in return.
That issue is essential to understanding the film, whose hedonism is solely a boy toy struggles to swallow a huge cock doorway for viewers to step through in search of more sublime sensations. Cronenberg’s direction is cold and medical, the near-regular fucking mechanical and indiscriminate. The only time “Crash” really comes alive is within the instant between anticipating Demise and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car like a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
helped moved gay cinema away from being a strictly all-white affair. The British Film Institute ranked it at number fifty in its list of the highest a hundred British films of your twentieth century.
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What when you found a portal into a famous actor’s mind? But the movie isn’t designed to wag a finger at our society’s obsession with the lifestyles from the rich and famous.
“Public Housing” presents a tough balancing act for just a filmmaker who’s drawn to poverty but also lifeless-established against the manipulative sentimentality of aestheticizing nude videos it, and yet Wiseman bdsm video is uniquely well-prepared for that challenge. His camera just lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her very own, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved a person to talk about how she’s not “doing so warm.
Viewed through a different lens, the movie is also a sexual intercourse comedy, perceptively dealing with themes of queerness, body dysphoria plus the desire to lose oneself within the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic as being the haughty Maxine, a coworker who Craig covets.
Rivette was the most narratively elusive of the French filmmakers who rose up porn with the New Wave. He played with time and long-sort storytelling within the 13-hour “Out one: Noli me tangere” and showed his extraordinary affinity for women’s stories in “Celine and Julie Go Boating,” one of many most purely fun movies with the ‘70s. An affinity for conspiracy, of detecting some mysterious plot from the margins, suffuses his work.
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