— and it hinges on an unlikely friendship that could only exist from the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to be the best.
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The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath in the girls — who walk with limps and have barely learned to talk — being permitted to wander the streets and meet other kids for the first time.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and eliminate themselves during the same tune that’s playing over the jukebox.
The awe-inspiring experimental film “From the East” is by and large an exercising in cinematic landscape painting, unfolding as being a number of long takes documenting vistas across the former Soviet Union. “While there’s still time, I would like to make a grand journey across Eastern Europe,” Akerman once said from the enthusiasm behind the film.
Within the a long time considering the fact that, 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's to cinema’s great fortune that the real Haroun didn't do the same. —LL
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Sure, there’s a world of darkness waiting for them when they get there, but that’s just how it goes. There are shadows in life
” He could be a foreigner, but this is actually a world he knows like the back of his hand: Major guns. Brutish Adult men. Sensitive-looking girls who harbor more power than you could possibly visualize. And binding her feathers have been ruffled and shuffled them all together is a way that the most beautiful things in life aren’t meant for us to keep or include. No matter whether a houseplant or a troubled child with a bright future, when you love something you have to Permit it grow. —DE
Emir Kusturica’s characteristic exuberance and frenetic pacing — which generally feels like Fellini on Adderall, accompanied xxnx tv by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Power spilling across the tortured spirit of his beloved Yugoslavia as the country experienced through an extended duration of disintegration.
Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of author John Rechy and even the director’s personal “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark while in the darkness. The film underscored the already evident talents of its two youporm leads, River Phoenix and Keanu Reeves, while also giving us all many a purpose to swoon over their indie heartthrob status.
Making the most of his background being a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a series of polite interrogations, his camera watching observantly as more than a half-dozen characters seek to distill themselves into one particular perfect minute. The episodes they ultimately choose are wistful and wise, each moving in its own way.
And nonetheless, on meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The kid is quick to offer his have judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search with the boy’s father.
is actually a blockbuster, an original outing that also lovingly gathers together all kinds of string and still feels wholly itself at the end. In some ways, what that Wachowskis first made (and then attempted to make again in three subsequent sequels, including a the latest reimagining that only Lana participated in making) at the top the ten years was a last gasp of your kind of righteous creativity that had made audio porn the ’90s so special.