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Countless other characters pass out and in of this rare charmer without much fanfare, yet thanks for the film’s sly wit and fully lived-in performances they all leave an improbably lasting impression.
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But this drama has even more than the exceptionally unique story that it is about the surface. Put these guys and the way they experience their world and each other, inside a deeper context.
It doesn’t get more romantic than first love in picturesque Lombardo, Italy. Throw in an Oscar-nominated Timothée Chalamet to be a gay teenager falling hard for Armie Hammer’s doctoral student, a dalliance with forbidden fruit and in a major supporting role, a peach, and also you’ve got amore
The story of a son confronting the family’s patriarch at his birthday gathering about the horrors of the previous, the film chronicles the collapse of that family under the weight in the buried truth being pulled up through the roots. Vintenberg uses the camera’s lack of ability to handle the natural lower light, as well as the subsequent breaking up of the grainy image, to perfectly match the disintegration of your family over the course from the day turning to night.
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are a few of the images that linger after you emerge from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.
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The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it had been shot, is enough to make the porn videos film sound like a relic of its time. Salles’ Oscar-nominated strike tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living writing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe along with a bit tactless, Montenegro’s Dora is far lobster tube from a lovable maternal determine; she’s quick to evaluate her clients and dismisses their struggles with arrogance.
Tarr has never been an overtly political filmmaker (“Politics makes everything also very simple and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is in the thrall of another authoritarian leader reflects both the recursive arc of the latest history, and also the full power of Tarr’s sinister parable.
An endlessly clever exploit from the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its development that all stem from a single truth: Even the most immortal artwork is altogether human, and a product of the many passion and nonsense that comes with that.
And nonetheless all of it feels like part of a larger tapestry. Just consider every one of the seminal moments: Jim Caviezel’s AWOL soldier seeking refuge with natives on a South Pacific island, Nick Nolte’s Lt. Col. trying to rise up the ranks, butting heads with a noble John Cusack, and the company’s asianporn attempt to take Hill 210 in one of several most involving scenes ever filmed.
Studio fuckery has only grown more frustrating with the vertical integration from the streaming period (just inquire Batgirl), though the ‘90s sometimes feels like Hollywood’s last true golden age of hands-on interference; it had been the last time that a Disney subsidiary might greenlight an ultra-violent Western horror-comedy about U.
That Stanley Tong’s “Rumble during the Bronx” emerged milffox from that shame of riches as the only Hong Kong action movie on this list is both a perverse testament to the fact that everyone has their individual personal favorites — How can you pick between “Hard Boiled” and “Bullet in the Head?” — along with a clear reminder that a person star managed to fight his way above the fray and conquer the world without leaving home behind.
Slice together with a degree of precision that’s almost entirely absent from the rest of curvaceous babe face sitting her thick ass on pliant guy Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting specifically from the drama, and Besson’s eyesight of a sweltering Manhattan summer is every bit as evocative given that the film worlds he designed for “Valerian” or “The Fifth Component.