The reducing was somewhat far too rushed, I would personally have selected to have much less scenes but several seconds longer--if they needed to keep it under those jiffy.
“Eyes Wide Shut” might not seem to be as epochal or predictive as some with the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more accurate feeling of what it would feel like to live during the 21st century. In the word: “Fuck.” —DE
More than anything, what defined the decade was not just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors towards the endless possibilities of cinematic storytelling. Administrators like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their own conditions, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, and also the movies are many of the better for that.
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 reduce themselves inside the same tune that’s playing on the jukebox.
The emotions linked with the passage of time is a giant thing to the director, and with this film he was ready to do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means for being a freshman kissing a cool older girl given that the Solar rises, the sense of being a senior staring at the end of the party, and why the tip of one significant life stage can feel so aimless and Unusual. —CO
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 pprno as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is usually a clenched sleepwalk through a swirl of overlapping dreamstates.
the 1994 film that was primarily a showcase for Tom Hanks as a man dying of AIDS, this Australian drama isn’t about just one man’s burden. It focuses around the physical and psychological havoc AIDS wreaks with a couple in different stages in the disease.
A cacophonously intimate character study about a woman named Julie (a 29-year-aged Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her reduction by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like local sex videos coincidences than sexcom in refuting The reasoning that life is ever as understandable as human subjectivity (or that of the film camera) can make it seem to be.
The people of Colobane are desperate: Anyone who’s anyone gorgeous maiden sara jays cuch crave for boner has left, its structures neglected, its remaining leaders inept. A major infusion of cash could really turn things around. And she or he makes an offer: she’ll give the town riches further than their imagination if they comply with destroy Dramaan.
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The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap energy of a “Lupin the III” episode, begins with the fact that Gabor doesn’t even consider (the the latest flimsiness of his knife-throwing act implies an impotence of a different kind).
The artist Bernard Dufour stepped in for long close-ups of his hand (to become Frenhofer’s) as he sketches and paints Marianne for unbroken minutes at a time. During those moments, the plot, the particular push and pull between artist and model, is placed on pause as the thing is a japaneseporn work take condition in real time.
And nevertheless, on meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The child is quick to offer his very own judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search on the boy’s father.
is perhaps the first feature film with fully rounded female characters that are attracted to each other without that attraction being contested by a male.” In line with Curve