7.five Another Korean short worth a watch. However, I don't like it as much as many others do. It is really good film-making, nevertheless the story just is just not entertaining enough to make me fall for it as hard as many seem to have done.
“Eyes Wide Shut” may not seem to be as epochal or predictive as some of your other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more precise feeling of what it would feel like to live inside the 21st century. In a word: “Fuck.” —DE
Even more acutely than possibly of your films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better worse), and then mines a powerful solace from the cosmic mystery of how we might all mesh together.
Set inside of a hermetic natural environment — there are not any glimpses of daylight in any way in this most indoors of movies — or, alternatively, four luxurious brothels in 1884 Shanghai, the film builds refined progressions of character through comprehensive dialogue scenes, in which courtesans, attendants, and clients talk about their relationships, what they feel they’re owed, and what they’re hoping for.
It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
For all of its sensorial timelessness, “The Girl within the Bridge” may be too drunk on its own fantasies — male or otherwise — to shimmer as strongly today since it did inside the summer of 1999, but Leconte’s faith in the ecstasy of filmmaking lingers all of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence pure mature that all you need to make a movie is really a girl along with a knife).
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Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or Julie from “The Worst Particular person in the World,” tinged with Rejtman’s standard lena paul brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identification crisis of types, prompting her to curl her hair, don fake nails, and wear a fur coat to a meeting arranged between the two.
No supernatural being or predator enters a single body of this visually affordable affair, however the committed turns of its stars as they descend into madness, along with the piercing sounds of horrific events that we’re pressured to assume in lieu of seeing them for ourselves, are still more than adequate to instill a visceral panic.
I have to rewatch it, considering that I'm not sure if I received everything right with regards to dynamics. I'd say that absolutely was an intentional move from the script writer--to enhance the theme of reality and play blurring. Ingenious--as well as confusing.
“Public Housing” presents a tough balancing act for just a filmmaker who’s drawn to poverty but also useless-established against the manipulative sentimentality of aestheticizing it, and however Wiseman is uniquely well-prepared for the challenge. His camera basically lets the residents be, and they reveal themselves to it in response. We meet an elderly christy canyon woman, living on her individual, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved just one to talk about how she’s not “doing so very hot.
” The kind of movie that invented terms like “offbeat” and “quirky,” this film makes reduced-finances filmmaking look easy. Released in 1999 with the vedio sex tail end of The brand new Queer Cinema wave, “But I’m a Cheerleader” bridged the gap between the first scrappy queer indies and the hyper-commercialized “The L Word” era.
, Justin Timberlake beautifully negotiates the bumpy terrain from disapproval to acceptance to love.
As handsome and charming as George Clooney is, it’s hard to imagine he would have been the star He's today if Soderbergh hadn’t unlocked the full depth of his persona with this role.