The result is an impressionistic odyssey that spans time and space. Seasons alter as backdrops change from cityscapes to rolling farmland and back. Destinations are never specified, but lettering on indicators and snippets of speech lend clues regarding where Akerman has placed her camera on any given occasion.
is about working-class gay youths coming together in South East London amid a backdrop of boozy, harmful masculinity. This sweet story about two high school boys falling in love for that first time gets extra credit score for introducing a younger generation towards the musical genius of Cass Elliott from The Mamas & The Papas, whose songs dominate the film’s soundtrack. Here are more movies with the best soundtracks.
“Jackie Brown” may be considerably less bloody and slightly less quotable than Tarantino’s other 1990s output, but it surely makes up for that by nailing each of the little things that he does so well. The clever casting, flawless soundtrack, and wall-to-wall intertextuality showed that the same person who delivered “Reservoir Dogs” and “Pulp Fiction” was still lurking behind the camera.
Well, despite that--this was one of my fav Korean BL shorts And that i Completely loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a way I am unable to quite put my finger on.
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During the many years due to the fact, his films have never shied away from difficult subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” on the cruel bureaucracy facing asylum seekers in “A Season In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it can be to cinema’s great fortune that the real Haroun did not do the same. —LL
Scorsese’s filmmaking has never been more operatic and powerful as it grapples with the paradoxes of awful men as well as the profound desires that compel them to accomplish dreadful things. Needless to state, De Niro is terrifically cruel as Jimmy “The Gent” Conway and Pesci does his best work, but Liotta — who just died this year — is so spot-on that it’s hard leah lee dont leave your unhappy girlfriend around h never to think about what might’ve been experienced Scorsese/Liotta Crime Movie become a thing, also. RIP. —EK
won the Best Picture Oscar in 2017, it signaled a whole new age for LGBTQ movies. During the aftermath in sexy video sexy video the surprise Oscar gain, LGBTQ stories became more complex, and representation more diverse. Now, gay characters pop up as leads in movies where their sexual orientation is a matter of simple fact, not plot, and Hollywood is adding to the conversation around LGBTQ’s meaning, with all its nuances.
From the very first scene, which ends with an empty can of insecticide rolling down a road for so long that you are able to’t help but ask yourself a litany of instructive queries while you watch it (e.g. “Why is Kiarostami showing us this instead of Sabzian’s arrest?” “What does it advise about the artifice of this story’s design?”), to your courtroom scenes that are dictated because of the demands of Kiarostami’s camera, and then for the soul-altering finale, which finds a tearful Sabzian collapsing into the arms of his personal hero, “Close-Up” convincingly illustrates how cinema has the ability to transform The material of life itself.
Spielberg couples that vision of America with a way of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you are there” immediacy. The best way he toggles scale and stakes, from the endless chaos of Omaha Beach, on the relatively small fight at the end to hold a bridge in a bombed-out, abandoned French village — but giving each battle equivalent emotional deepfake porn pounds — is true directorial mastery.
Many of Almodóvar’s recurrent thematic obsessions show up here at the peak of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, as well as a protagonist who ran away from the turmoil of life but who must ultimately return to face the past. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is functional but crumbles at the mere point out of her late boy or girl, consistently submerging us in her insurmountable pain.
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“Raise the Red Lantern” challenged staid perceptions of Chinese cinema during the West, and sky-rocketed actress Gong Li to international stardom. At home, however, the film was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it was later permitted to air on television).
” Meanwhile, desi 49 pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda as being a girl who’s so precocious that she belittles her individual grief. Danny Aiello is deeply endearing since the old school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so massive that you are able to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!