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Wisely realizing that, despite the hundreds of years between them, Jane Austen similarly held great respect for “women’s lives” and managed to craft stories about them that were foolish, frothy, funny, and very relatable.
It wasn’t a huge hit, but it was among the first important 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 while in the forest. Our disbelief was effectively suppressed by a DYI aesthetic that interspersed low-quality video with 16mm testimonials, each giving validity to the nonfiction concept in their own way.
The emotions affiliated with the passage of time is a huge thing with the director, and with this film he was capable to do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means to become a freshman kissing a cool older girl as being the Solar rises, the feeling of being a senior staring at the conclusion of the party, and why the tip of 1 big life stage can feel so aimless and Unusual. —CO
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman to the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over prevalent feeling at every possible juncture — how else to elucidate Léon’s superhuman capability to fade into the shadows and crannies on the Manhattan apartments where he goes about his business?
Within the films of David Fincher, everybody needs a foil. His movies normally boil down towards the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
That’s not to convey that “Fire Walk with Me” is interchangeable with the show. Functioning over two hours, the movie’s temper is much grimmer, scarier and — in an porn photo unsettling way — sexier than Lynch’s foray into broadcast television.
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earned vital and viewers praise to get a reason. It’s about a late-18th-century affair between a betrothed French aristocrat and also the woman commissioned to paint her portrait. It’s a beautiful but heartbreaking LGBTQ movie that’s sure to become a streaming staple for movie nights.
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For such a singular artist and aesthete, Wes Anderson has always been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For proof, just look at the way his characters worship each other in order to find themselves — hot gay sex from Ned Plimpton’s childhood obsession with Steve Zissou, towards the mild awe that Gustave H.
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When Satoshi Kon died from pancreatic cancer in 2010 for the tragically premature age of forty six, not only did the film world reduce one among its greatest storytellers, it also lost one of its most gifted seers. Not one person had a more accurate grasp on how the electronic age would see fiction and reality bleed into each other around the most private amounts of human perception, and all four with the wildly different features that he made in his short career (along with his masterful Tv set show, “Paranoia Agent”) are bound together by a shared preoccupation with the fragility of your self while in the shadow of mass media.