The film is framed as being the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality by the great Denis Lavant). Loosely according to Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise inspired by Melville’s work, as excerpts from Britten’s opus take on a haunting, nightmarish quality as they’re played over the unsparing training routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing within the desert with their arms inside the air and their eyes closed just as if communing with a higher power, or regularly smashing their bodies against a person another in a number of violent embraces.
, one of the most beloved films from the ’80s as well as a Steven Spielberg drama, has lots going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-successful source material and a timeless theme of love (in this scenario, between two women) being a haven from trauma.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath of your girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other children with the first time.
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 any film history that reflects someone who looks like her, Cheryl embarks with a journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever experienced.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
Assayas has defined the central problem of “Irma Vep” as “How can you go back for the original, virginal strength of cinema?,” however the film that question prompted him to make is only so rewarding because the responses bf sexy it provides all manage to contradict each other. They ultimately flicker together in one of the greatest endings of the 10 years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist hentaifox doodles that would be meaningless if not for how perfectly they indicate Vidal’s achievement at creating a cinema that is shaped — although not owned — because of the past. More than 25 years later, Assayas is still trying to determine how he did that. —DE
For such a short drama, It can be very well rounded and feels like a much longer story due to good planning and directing.
and are thirsting to begin to see the legendary drag queen and actor in action, Divine gives one of the best performances of her life in this campy and vibrant John Waters classic. You already love the musical remake, fall in love with the original.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-aged directing with the swagger of a young porn star in possession of the massive
“After Life” never describes itself — Quite the opposite, it’s presented with the dull matter-of-factness of another Monday morning with the office. Somewhere, in the quiet limbo between this world and desichudai also the next, there is usually a spare but peaceful facility where the dead are interviewed about their lives.
But considered-provoking and precisely what made this such an intriguing watch. Is the viewers, along with the lead, duped from the seemingly innocent character, that is truth was a splendid actor already to begin with? Or was he indeed innocent, but learnt as well fast and too well--ending up outplaying his teacher?
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There are manic pixie dream girls, and there are manic pixie dream girls. And then — 1,000 miles over and above the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis to german brunette housewife small tits fucked in kitchen be a disaffected, suicidal, 21-year-old nymphomaniac named Adèle who throws herself into the Seine with the start of Patrice Leconte’s romantic, intoxicating “The Girl on the Bridge,” only for being plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a completely new ingenue to play the human target in his traveling circus act.
A crime epic that will likely sexy film sexy film stand since the pinnacle accomplishment and clearest, but most complex, expression from the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking accomplishment — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s all in the same film.