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The film is framed since the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality via the great Denis Lavant). Loosely according to Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use with the Benjamin Britten opera that was likewise influenced by Melville’s work, as excerpts from Britten’s opus take on a haunting, nightmarish quality as they’re played over the unsparing training workouts to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing inside the desert with their arms during the air and their eyes closed just as if communing with a higher power, or consistently smashing their bodies against 1 another in a number of violent embraces.
It’s difficult to explain “Until the End with the World,” Wim Wenders’ languid, much-flung futuristic road movie, without feeling like you’re leaving something out. It’s about a couple of drifters (luminous Solveig Dommartin and gruff William Hurt) meeting and un-meeting while hopping from France to Germany to Russia to China to America within the run from factions of regulation enforcement and bounty hunter syndicates, but it really’s also about an experimental engineering that allows people to transmit memories from a person brain to another, and about a planet living in suspended animation while waiting to get a satellite to crash at an unknown place at an unknown time And maybe cause a nuclear disaster. A good portion of it is actually just about Australia.
Even more acutely than both from the 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.
With Tyler Durden, novelist Chuck Palahniuk invented an impossibly cool avatar who could bark truisms at us with a quasi-spiritual touch, like Zen Buddhist koans that have been deep-fried in Axe body spray. With Brad Pitt, David Fincher found the perfect specimen to make that male as real to audiences as he is towards the story’s narrator — a superstar who could seduce us and make us resent him for it with the same time. In a very masterfully directed movie that served to be a reckoning with the 20th Century as we readied ourselves for that 21st (and ended with a person reconciling his outdated demons just in time for some towers to implode under the weight of his new ones), Tyler became the physical embodiment of consumer masculinity: Aspirational, impossible, insufferable.
A sweeping adventure about a 14th century ironmonger, the animal gods who live in the forest she clearcuts to mine for ore, along with the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen as a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving for being every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is really a clenched sleepwalk through a swirl of overlapping dreamstates.
When it premiered at alexis texas Cannes in 1998, the film made with a $seven-hundred one particular-chip DV camera sent shockwaves bonga cam through the film world — lighting a fire under the digital narrative movement while in the U.S. — while within the same time making director Thomas Vinterberg and his compatriot Lars Van Trier’s scribbled-in-45-minutes Dogme 95 manifesto into the start of the technologically-fueled film movement to lose artifice for artwork that set the tone for 20 years of reduced price range (and some not-so-lower budget) filmmaking.
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama set during the same present in which it had been shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated rim4k love so strong strike tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living crafting letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe in addition to a bit tactless, Montenegro’s Dora is way from a lovable maternal figure; she’s quick to evaluate her clients and dismisses their struggles with arrogance.
A dizzying epic of reinvention, Paul Thomas Anderson’s seedy and sensational second film found the 28-year-outdated directing with the swagger of the young porn star in possession of a massive
this fantastical take on Elton John’s story doesn’t straight-clean its subject’s sex life. Pair it with 1998’s Velvet Goldmine
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The actual fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” had to be retitled something as anodyne as “Show Me Love” for its U.S. release is a perfect testament to some portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.