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 result: it’s a film about sex work that features no intercourse.
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All of that was radical. Now it is acknowledged without problem. Tarantino mined ‘60s and ‘70s popular culture in “Pulp Fiction” the best way Lucas and Spielberg had the ‘30s, ‘40s, and ‘50s, but he arguably was even more successful in repackaging the once-disreputable cultural artifacts he unearthed as artwork to the Croisette plus the Academy.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained towards the social order of racially segregated nineteen fifties Connecticut in “Much from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Like many from the best films of its 10 years, “Beau Travail” freely shifts between fantasy and reality without stopping to establish them by name, resulting in the kind of cinematic hypnosis that audiences had rarely seen deployed with such thriller or confidence.
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are a few of the images that linger after you arise from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.
In the films of David Fincher, everybody needs a foil. His movies often boil interracial porn down to the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
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Tarr has never been an overtly political filmmaker (“Politics makes everything also very simple and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who xxxvedios never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is while in the thrall of another authoritarian leader reflects both the recursive arc of the latest history, along with the full power of Tarr’s sinister parable.
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What in case you found a portal into a famous actor’s mind? Nonetheless the movie isn’t designed to wag a finger at our culture’s obsession with the lifestyles with the rich and famous.
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In “Strange Days,” the love-Unwell grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism over the blackmarket, becomes embroiled in an enormous conspiracy when considered one of his clients captures footage of the heinous crime – the murder of the Black political hip hop artist.
His first feature straddles both worlds, exploring the conflict that he himself felt for a young person in this lightly fictionalized version of his very own story. Haroun plays himself, an up-and-coming Chadian film director situated in France, who returns to his birth country to attend his mother’s funeral.
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