The best Side of girl and her cousin
The best Side of girl and her cousin
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Dreyer’s “Gertrud,” like the various installments of “The Bachelor” franchise, found much of its drama basically from characters sitting on elegant sofas and talking about their relationships. “Flowers of Shanghai” achieves a similar outcome: it’s a film about sexual intercourse work that features no sex.
Davies might still be searching for your love of his life, though the bravura climactic sequence he stages here — a number of god’s-eye-view panning shots that melt church, school, as well as the cinema into a single place within the director’s memory, all of them held together via the double-edged wistfulness of Debbie Reynolds’ singing voice — propose that he’s never experienced for a lack of romance.
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The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and shed themselves within the same tune that’s playing to the jukebox.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Red Lantern,” the utter decadence in the imagery is actually a delicious further layer to a beautifully created, exquisitely performed and completely thrilling bit of work.
Montenegro became the first — and still only — Brazilian actor to be nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching but never saccharine, Salles’ breakthrough ends with a fitting testament to The reasoning that some memories never fade, even as our indifferent world continues to spin forward. —CA
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock get over his crush. Things get complicated, even though, when she develops feelings for the same girl. Charming and real, it will turn out on your list of favorite Netflix romantic movies in no time.
Played by gay sex videos Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or Julie from “The Worst Person inside the World,” tinged with Rejtman’s normal brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identity crisis of kinds, prompting her to curl her hair, don fake nails, and wear a fur coat to some meeting arranged between the two.
A person night, the good Dr. Invoice Harford is the same toothy and self-assured Tom Cruise who’d become the face of Hollywood itself from the ’90s. The next, he’s fighting back flop sweat as he gets lost from the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers plus the lena paul sinister ultra-rich they serve melons tube (masters in the universe who’ve fetishized their role in our plutocracy to the point where they can’t even throw a straightforward orgy without turning it into a semi-ridiculous “Slumber No More,” or get themselves off without putting the panic of God into an uninvited guest).
“After Life” never clarifies itself — Quite the opposite, it’s presented with the boring matter-of-factness of another Monday morning at the office. Somewhere, inside the peaceful limbo between this world as well as next, there can be a spare but tranquil facility where the lifeless are interviewed about their lives.
foil, the nameless hero manifesting an imaginary friend from many of the banal things he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I fuck like you wanna fuck, I'm good, capable, and most importantly, I am free in many of the ways that you are not.
It’s no wonder that “Princess Mononoke,” despite being a massive hit in Japan — and also a watershed minute for anime’s presence to the world stage — struggled to find a foothold with xham American audiences who will be rarely asked to acknowledge their hatred, and even more seldom challenged to harness it. Certainly not by a “cartoon.
“Raise the Crimson Lantern” challenged staid perceptions of Chinese cinema from the West, and sky-rocketed actress Gong Li to international stardom. At home, however, the film was criticized for trying to appeal to foreigners, and even banned from screening in theaters (it absolutely was later permitted to air on television).
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by car or truck crashes was bound porndish for being provocative. “Crash” transcends the label, grinning in perverse delight as it sticks its fingers into a gaping wound. Something similar happens during the backseat of a vehicle in this movie, just a single from the cavalcade of perversions enacted with the film’s cast of pansexual risk-takers.