What happens when two hustlers hit the road and one of them suffers from narcolepsy, a snooze disorder that causes him to all of a sudden and randomly fall asleep?
“What’s the difference between a Black person as well as a n****r?” A landmark noir that hinges on Black identity plus the so-called war on medications, Monthly bill Duke’s “Deep Cover” wrestles with that provocative concern to bloody ends. It follows an undercover DEA agent, Russell Stevens Jr. (Laurence Fishburne at his absolute hottest), as he works to atone for the sins of his father by investigating the cocaine trade in Los Angeles within a bid to bring Latin American kingpins to court.
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Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained towards the social order of racially segregated 1950s Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Back in 1992, however, Herzog experienced less cozy associations. His sparsely narrated fifty-moment documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, much removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism into the disaster. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such vast nightmare landscapes that it makes their prayers look like they are being answered from the Devil instead.
Sprint’s elemental route, the non-linear composition of her narrative, and the sensuous pull of Arthur Jafa’s cinematography Mix to make a xvedeo rare film of Uncooked beauty — one that didn’t ascribe to Hollywood’s concept of Black people or their cinema.
Seen today, steeped in nostalgia for the freedoms of the valentina nappi pre-handover Hong Kong, “Chungking Categorical” still feels new. The film’s lasting power is especially impressive within the face of such a fast-paced world; a world in which nothing could be more important than a concrete offer from someone willing to share the same future with you — even if that offer is created with a napkin. —DE
and therefore are thirsting to begin to see the legendary drag queen and actor in action, Divine gives on the list of best performances of her life in this campy and colorful John Waters classic. You already love the musical remake, fall in love with the original.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-aged directing with the swagger of the young porn star in possession of the massive
No matter how bleak things get, Ghost Canine’s rigid system of perception allows him to maintain his dignity from the face of lethal circumstance. More than that, it serves as a metaphor with the world of impartial cinema itself cosplay stud barebacked by bf for xmas (a domain in which Jarmusch had already become an elder statesman), plus a reaffirmation of its faith in the idiosyncratic and uncompromising artists who lend it their lives. —LL
Adapted from the László Krasznahorkai novel of your same name and maintaining the book’s dance-motivated chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a person named Irimiás ullu web series video — played by composer Mihály Vig — to “return from the useless” and prey about the desolation he finds Among the many desperate and easily manipulated townsfolk.
‘s good results proved that a literary gay romance set in repressed early-twentieth-century England was as worthy of a giant-display screen time period piece because the entanglements of straight star-crossed aristocratic lovers.
“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of a sun-kissed American flag billowing while in the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (Maybe that’s why one particular particular master of controlling countrywide narratives, Xi Jinping, has said it’s one among his favorite movies.) What sets it apart from other propaganda is that it’s not really about femdom establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America could be. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to the idea that the U.
, future Golden World winner Josh O’Connor floored critics with his performance as being a young gay sheep farmer in Yorkshire, England, who’s having difficulties with his sexuality and budding feelings for a new Romanian migrant laborer.