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If anything, Hoberman’s comment underestimated the seismic impact that “Schindler’s List” would have about the public imagination. Even for the children and grandchildren of survivors — raised into awareness but starved for understanding — Spielberg’s popcorn version on the Shoah arrived with the power to try and do for concentration camps what “Jurassic Park” experienced done for dinosaurs before the same year: It exhumed an unfathomable period of history into a blockbuster spectacle so watchable and well-engineered that it could shrink the legacy of an entire epoch into a single vision, in this circumstance potentially diminishing generations of deeply personal stories along with it.
“Eyes Wide Shut” might not appear to be as epochal or predictive as some from the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more correct sense of what it would feel like to live while in the twenty first century. Inside a word: “Fuck.” —DE
Yang’s typically set nonetheless unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial law as well as shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of one of its lifeless leaders — feel countrywide in scale.
Well, despite that--this was one of my fav Korean BL shorts And that i Unquestionably loved the delicate and soft chemistry between the guys. They were just somehow perfect together, in a way I am unable to quite place my finger on.
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
'Tis the period to stream movies until you feel the weary responsibilities from the world fade away and also you finally feel whole again.
It’s easy to make high school and its inhabitants seem silly or transitory, but Heckerling colic is keenly aware of the formative power of those teenage years. “Clueless” understands that while some of its characters’ concerns are small potatoes (Of course, some people did get rid of all their athletic tools during the Pismo Beach catastrophe, and no, a biffed driver’s test isn't the end of your world), these experiences are also going to contribute to the way they tactic life forever.
A cacophonously intimate character anime sex study about a woman named Julie (a 29-year-aged Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for just a trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of a film camera) can make it appear.
They’re looking for love and sex while in the last days of disco, in the start with the ’80s, and have to swat away plenty of Stillmanian assholes, like Chris Eigeman for a drug-addicted club manager who pretends for being gay to dump women without guilt.
Emir Kusturica’s characteristic exuberance and frenetic pacing — which often feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Vitality spilling across the tortured spirit of his beloved Yugoslavia because the country experienced through an extended duration of disintegration.
Dripping in radiant beauty by cinematographer Michael Ballhaus and Aged Hollywood grandeur from composer Elmer Bernstein, “The Age of Innocence” above all leaves you with a feeling of disappointment: not for any earlier gone by, like so many period pieces, but for your granny anal opportunities left un-seized.
Lenny’s friend Mace (a kick-ass Angela Bassett) believes they should expose the footage from the pronhub hopes of enacting real alter.
There are manic pixie dream girls, and there are manic pixie dream girls. And then — 1,000 miles beyond the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis as a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertisementèle who throws herself into the Seine on the start of Patrice Leconte’s romantic, intoxicating “The Girl to the Bridge,” only to become plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a whole new ingenue to play the human target in his traveling circus act.
From that rich premise, “Walking and Talking” churns into a characteristically small-key gay porm but razor-sharp drama about the complexity of women’s interior lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display screen chemistry) that her attention can’t help but cascade down onto her male characters as well.