this relatively unsung drama laid bare the devastation the previous pandemic wreaked on the gay Local community. It had been the first film dealing with the subject of AIDS to receive a wide theatrical release.
Wisely realizing that, despite the hundreds of years between them, Jane Austen similarly held great regard for “women’s lives” and managed to craft stories about them that were silly, frothy, funny, and very relatable.
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Set 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 the 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 experienced.
Steeped in ’50s Americana and Cold War fears, Brad Hen’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Guy,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and the sentient machine who refuses to serve his violent purpose. As the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
Assayas has defined the central problem of “Irma Vep” as “How could you go back to the original, virginal strength of cinema?,” even so the film that query prompted him to make is only so rewarding because the answers it provides all seem to contradict each other. They ultimately flicker together in among the list of greatest endings from the decade, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless if not for a way perfectly they indicate Vidal’s accomplishment at creating a cinema that is shaped — but not owned — by the earlier. More than 25 years later, Assayas is still trying to determine how he did that. —DE
It’s easy to make high school and its inhabitants seem silly or transitory, but Heckerling is keenly mindful of the formative power of those teenage years. “Clueless” understands that while some of its characters’ concerns are small potatoes (yes, some people did get rid of all their athletic machines during the Pismo Beach disaster, and no, a biffed driver’s test is not the conclusion with the world), these experiences are also going to add to the best way they strategy life forever.
gained the Best Picture Oscar in 2017, it signaled a whole new age for LGBTQ movies. Within the aftermath of your target baby registry surprise Oscar win, LGBTQ stories became more complex, and representation more diverse. Now, gay characters pop up as leads in movies where their sexual orientation is really a matter of simple fact, not hard porn plot, and Hollywood is adding towards the conversation around LGBTQ’s meaning, with all its nuances.
Tarr has never been an overtly political filmmaker (“Politics makes everything too straightforward and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who hdporn92 never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is during the thrall of another authoritarian leader demonstrates both the recursive arc of the latest history, as well as full power of Tarr’s sinister parable.
(They do, however, steal one of the most famous images ever from one of many greatest horror movies ever in the scene involving an axe in addition to a bathroom door.) And while “The Boy Behind the Door” runs outside of steam somewhat in the 3rd act, it’s mostly a tight, well-paced thriller with fantastic central performances from a couple of young actors with bright futures ahead of them—once they get out of here, that is.
Many of Almodóvar’s recurrent thematic obsessions show up here at the height of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, and a protagonist who ran away from the turmoil of life but who must ultimately return to face the previous. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is functional but crumbles for the mere mention of her late baby, frequently submerging us in her insurmountable pain.
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett sexvid and Rooney Mara, mia khalifa sex video so it’s not particularly underappreciated. Still, for every one of the plaudits, this lush, lovely period lesbian romance doesn’t have the credit rating it deserves for presenting such a lifeless-accurate depiction on the power balance within a queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
Beyond that, this buried gem will always shine because of the simple wisdom it unearths inside the story of two people who come to understand the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only undesirable company.” —DE
Leigh unceremoniously cuts between the two narratives until they eventually collide, but “Naked” doesn’t betray any hint of schematic plotting. On the contrary, Leigh’s apocalyptic vision of a kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing in its own filth that it’s easy to forget this is actually a scripted work of fiction, anchored by an actor who would go on to star inside the “Harry Potter” movies instead than a pathological nihilist who wound up lifeless or in prison shortly after the cameras started rolling.