Dreyer’s “Gertrud,” like the various installments of “The Bachelor” franchise, found much of its drama basically from characters sitting on elegant sofas and talking about their relationships. “Flowers of Shanghai” achieves a similar influence: it’s a film about sexual intercourse work that features no intercourse.
To anyone acquainted with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, not forgetting the depressive anguish that compelled Shinji’s real creator to revisit The child’s ultimate choice — Anno’s “The tip of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-monitor meditation over the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of identity and free will themselves are called into query.
Established inside a hermetic environment — there are not any glimpses of daylight in any way in this most indoors of movies — or, rather, four luxurious brothels in 1884 Shanghai, the film builds delicate progressions of character through comprehensive dialogue scenes, in which courtesans, attendants, and clients talk about their relationships, what they feel they’re owed, and what they’re hoping for.
The timelessness of “Central Station,” a film that betrays none of the mawkishness that elevated so much on the ’90s middlebrow feel-good fare, can be owed to how deftly the script earns the bond that sorts between its mismatched characters, And the way lovingly it tends for the vulnerabilities they expose in each other. The convenience with which Dora rests her head on Josué’s lap within a poignant scene implies that whatever twist of fate brought this pair together under such trying circumstances was looking out for them both.
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Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (read by Giovanni Ribisi), the film peers into the lives on the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized through the willowy young women — particularly Lux spank bang (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
Sure, there’s a world of darkness waiting for them when they get there, but that’s just the way it goes. There are shadows in life
“To me, ‘Paris Is Burning’ is such a gift from the sense that it introduced me to a world also to people who were very much like me,’” Janet Mock told IndieWire in 2019.
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters within the spring of 1999. A glorious mash-up on the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy into the instantly inconic impact known as “bullet time” — couple aueturs have ever delivered such a vivid vision (times two!
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There’s a purity towards the poetic realism of Moodysson’s filmmaking, which generally ignores the very low-funds constraints hentia of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral comfort and ease for his young cast and also the lives they so naturally inhabit for Moodysson’s camera. —CO
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after bang bros her family suspects she’s a lesbian.
The film features on the list of most enigmatic titles in the decade, the Odd, sonorous juxtaposition of those two words almost always presented during the original French. It could be read as “beautiful work” in English — but the concept of describing work as “beautiful” is somehow dismissive, as Should the legionnaires’ highly choreographed routines and domestic tasks are more of the performance than part of the advanced military system.