The impact is that of a modern-day Bosch painting — a hellish eyesight of a city collapsing in on itself. “Jungle Fever” is its own concussive power, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
, one of the most beloved films of your ’80s plus a Steven Spielberg drama, has a good deal going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-profitable resource material along with a timeless theme of love (in this situation, between two women) being a haven from trauma.
Back during the days when sequels could really do something wild — like taking their big negative, a steely-eyed robotic assassin, and turning him into a cuddly father determine — and somehow make it feel in line with the spirit in which the story was first conceived, “Terminator two” still felt unique.
Other fissures arise along the family’s fault lines from there since the legends and superstitions of their earlier once again become as viscerally powerful and alive as their challenging love for each other. —RD
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 on the Bridge” may be far too drunk on its own fantasies — male or otherwise — to shimmer as strongly today as it did from the summer of 1999, but Leconte’s faith while in the ecstasy of filmmaking lingers the many same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie is often a girl along with a knife).
Iris (Kati Outinen) works a lifeless-stop position in a match factory and lives with her parents — a drab existence that she tries to escape by reading romance novels and slipping out to her area nightclub. When a person she meets there impregnates her and then tosses her aside, Iris decides to get her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely able to string together an uninspiring phrase.
And nevertheless, as the number of survivors continues to dwindle as well as Holocaust fades ever more into the rear-view (making it that much less difficult for online cranks and elected officers alike to fulfill Göth’s dream of turning generations of Jewish history into the stuff of rumor), xcxx it's got grown a lot easier to understand the upside of Hoberman’s prediction.
Jane Campion doesn’t place much stock in labels — seemingly preferring to adhere into the outdated Groucho Marx chestnut, “I don’t want to belong to any club that will take people like me like a member” — and it sex pictures has used her career pursuing work that speaks to her sensibilities. Talk to Campion for her possess views of feminism, and you simply’re likely to get a solution like the a person she gave fellow filmmaker Katherine Dieckmann in a chat for Interview Journal back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t priya rai belong to any clubs, And that i dislike club mentality of any kind, even feminism—although I do relate to the purpose and point of feminism.”
Most of the excitement focused about the prosthetic nose Oscar winner Nicole Kidman wore to play legendary author Virginia Woolf, though the film deserves extra credit history for handling LGBTQ themes in such a poetic and mostly understated way.
“Earth” uniquely examines the split between India and Pakistan through the eyes of a toddler who witnessed the old India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all contribute for the unforced poignancy).
You might love it for the whip-smart screenplay, which received Callie Khouri an Academy Award. Or even to the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend pornhub con girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
This film follows two teen boys, Jia-han and Birdy as they fall in love within the 1980's just porm after Taiwan lifted its martial legislation. Given that the nation transitions from strict authoritarianism to become the most LGBTQ+ friendly country in Asia, The 2 boys grow and have their love tested.
From that rich premise, “Walking and Talking” churns into a characteristically low-vital but razor-sharp drama about the complexity of women’s internal lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.