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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the top,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
Almost 30 years later (with a Broadway adaptation from the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage is not really lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
It wasn’t a huge hit, but it absolutely was on the list of first main LGBTQ movies to dive into the intricacies of lesbian romance. It had been also a precursor to 2017’s
The terror of “the footage” derived from watching the almost pathologically ambitious Heather (Heather Donahue) begin to deteriorate as she and her and her crew members Josh (Joshua Leonard) and Mike (Michael C. Williams) get lost during the forest. Our disbelief was proficiently suppressed by a DYI aesthetic that interspersed minimal-quality video with 16mm testimonials, each giving validity towards the nonfiction concept in their own way.
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the end credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan place himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble within the Bronx” there was no turning back. —DE
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman about the verge of a (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over popular feeling at every possible juncture — how else to clarify Léon’s superhuman capacity to fade into the shadows and crannies of the Manhattan apartments where he goes about his business?
Iris (Kati Outinen) works a lifeless-end position at a match factory and lives with her parents — a drab existence that she tries to flee by reading romance novels and slipping out to her regional nightclub. When a man she meets hentaimanga there impregnates her and then tosses her aside, Iris decides for getting her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that asianpinay they’re barely in the position to string together an uninspiring phrase.
Set in Calvinist small town atop the Scottish Highlands, it is the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who may have intercourse with other Adult men to please her husband after a mishap has left him immobile. —
Nearly thirty years later, “Unusual Days” is usually a difficult watch as a result of 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
No matter how bleak things get, Ghost Pet dog’s rigid system of belief allows him to maintain his dignity in the face of fatal circumstance. More than that, it serves like a metaphor for that world of impartial cinema itself (a domain in which Jarmusch had already become an elder statesman), in addition to a reaffirmation of its faith from the idiosyncratic and uncompromising artists who lend it their lives. —LL
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was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not particularly underappreciated. Still, for the many plaudits, this lush, lovely period of time lesbian romance doesn’t have the credit history it deserves for presenting such a useless-precise depiction with the power balance in a very hot queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
“The Truman Show” could be the live porn rare high concept movie that executes its eye-catching premise to complete perfection. The idea of a man who wakes around learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to say about our relationships with God as it does our relationships with the Kardashians.
When Satoshi Kon died from pancreatic cancer in 2010 for the tragically premature age of forty six, not only did the film world lose considered one of its greatest storytellers, it also lost one of its most gifted seers. No-one experienced a more accurate grasp on how the digital age would see fiction and reality bleed into each other over the most private amounts of human notion, and all four of the wildly different features that he made in his temporary career (along with his masterful Television show, “Paranoia Agent”) are bound together by a shared preoccupation with the fragility of your self within the shadow of mass media.