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Dreyer’s “Gertrud,” like the various installments of “The Bachelor” franchise, found much of its drama merely from characters sitting on elegant sofas and talking about their relationships. “Flowers of Shanghai” achieves a similar impact: it’s a film about sexual intercourse work that features no intercourse.
Davies might still be searching to the love of his life, although the bravura climactic sequence he stages here — a number of god’s-eye-view panning shots that melt church, school, along with the cinema into a single place from the director’s memory, all of them held together via the double-edged wistfulness of Debbie Reynolds’ singing voice — propose that he’s never endured for a lack of romance.
It’s taken many years, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central to the story. When an Anglo-Asian gentleman (
To debate the magic of “Close-Up” is to discuss the magic from the movies themselves (its title alludes to some particular shot of Sabzian in court, but also to the kind 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 among the list of greatest films ever made because it doubles as being the ultimate self-portrait of cinema itself; from 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.
Hopkins’ Hannibal Lecter is without doubt one of the great villains in film history, pairing his heinous functions with just the right level of warm-yet-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game for that ages. The film had to walk an extremely delicate line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were capable to do precisely that.
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing on the box office. Around the surface, it might appear to be loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It was directed by Mike Nichols (
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A profoundly soulful plea for peace during the guise of straightforward family fare, “The Iron Giant” continues to stand tall as one xxnx of many best and most philosophically complex American animated films ever made. Despite, Or maybe because with the movie’s power, its release was bungled from the start. Warner Bros.
Nearly 30 years later, “Strange Days” is often a challenging watch due to onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the adjust desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
Emir Kusturica’s characteristic exuberance and frenetic pacing — which generally feels like Fellini on Adderall, accompanied by a raucous Balkan brass band sexxxxx — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Vitality spilling across the tortured spirit of his beloved Yugoslavia given that the country experienced through an extended period of disintegration.
Al Pacino portrays a neophyte crook who robs a financial institution in order to raise money for his lover’s gender-reassignment operation. According to a true story and nominated for six Oscars (including Best Actor for Pacino),
In “Strange Days,” the love-sick grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism within the blackmarket, becomes embroiled in a vast conspiracy when one among his clients frisky brunette jessica gets his butt licked captures footage of a heinous crime – the murder of a Black political hip hop pinay scandal artist.
Outside of that, this buried gem will always shine because of the simple knowledge it unearths while in the story of two people who come to appreciate the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only terrible company.” —DE
Set during the present working day with a Daring retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to a rehab for gay and lesbian teens. The patients don pink and blue pastels while performing straight-sexual intercourse simulations under the tutelage of the exacting taskmaster (Cathy Moriarty).