“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic generation turns the male gaze back on itself. True, it’s hard to think of the actress who’s had to be naked onscreen for a longer duration of time in a single movie than Emmanuelle Beart is in this one.
“Ratcatcher” centers around a twelve-year-old boy living in the harsh slums of Glasgow, a placing frighteningly rendered by Ramsay’s stunning images that drive your eyes to stare long and hard for the realities of poverty. The boy escapes his depressed world by creating his individual down because of the canal, and his encounters with two pivotal figures (a love interest in addition to a friend) teach him just how beauty can exist inside the harshest surroundings.
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central towards the story. When an Anglo-Asian gentleman (
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 from the forest. Our disbelief was effectively suppressed by a DYI aesthetic that interspersed minimal-quality video with 16mm testimonials, each giving validity for the nonfiction concept in their individual way.
The emotions related with the passage of time is a giant thing to the director, and with this film he was capable of 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 for being a freshman kissing a cool older girl since the Solar rises, the feeling of being a senior staring at the end of the party, and why the top of one major life stage can feel so aimless and Odd. —CO
We can easily never be sure who’s who in this film, and whether or not the blood on their hands is real or simply a diabolical trick. That being said, just one thing about “Lost Highway” is totally mounted: This may be the Lynch movie that’s the most of its time. Not in a foul way, of course, though the film just screams
Adapted from Jeffrey Eugenides’s wistful novel x vedio and featuring voice-over narration lifted from its pages (read through by Giovanni Ribisi), the film friends into the lives thumbzilla with the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized via the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
Sure, there’s a world of darkness waiting for them when they get there, but that’s just the way it goes. There are shadows in life
A non-linear eyesight of fifties Liverpool that unfolds with the slippery warmth of the Technicolor deathdream, “The Long Working day Closes” finds the director sifting through his childhood memories and recreating the happy formative years after his father’s Dying in order to sanctify the love that’s been waiting there for him all along, just behind the layer of glass that has always kept Davies (and his less explicitly autobiographical characters) from being able to reach out and touch it.
“After Life” never points out itself — pprno on the contrary, it’s presented with the dull matter-of-factness of another Monday morning at the office. Somewhere, in the peaceful limbo between this world along with the next, there is really a spare but tranquil facility where the useless are interviewed about their lives.
Where would you even start? No film on this list — as much as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The End of Evangelion,” just as no film on this list is as quick to antagonize its target audience. Essentially a mulligan to the last two episodes of Hideaki Anno’s totemic anime collection “Neon Genesis Evangelion” (and also a reverse shot of types for what happens webcam porn in them), great dangler sucking skills of brunette mariana pink this biblical psychological breakdown about giant mechas as well as the rebirth of life in the world would be absolute gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some warm new yoga craze.
Viewed through a different lens, the movie is also a intercourse comedy, perceptively dealing with themes of queerness, body dysphoria along with the desire to lose oneself during the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic given that the haughty Maxine, a coworker who Craig covets.
Looking over its shoulder in a century of cinema at the same time because it boldly steps into the next, the aching coolness of “Ghost Pet” may well have appeared silly if not for Robby Müller’s gloomy cinematography and RZA’s funky trip-hop score. But Jarmusch’s film and Whitaker’s character are both so beguiling for your Peculiar poetry they find in these unexpected combos of cultures, tones, and times, a poetry that allows this (very funny) film to maintain an unbending perception of self even as it trends in the direction of the utter brutality of this world.
The fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show Me Love” for its U.S. release is often a perfect testament to some portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.