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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the end,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
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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 to 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 possess phrases, 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, along with the movies are the many better for that.
“The tip of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the sequence and its author to zoom out and out and out until they could each see themselves starting over. —DE
Developed in 1994, but taking place to the eve of Y2K, the film – established in an apocalyptic Los Angeles – can be a clear commentary about the police assault of Rodney King, and a mirrored image over the days when the grainy tape played with a loop for white and Black audiences alike. The friction in “Strange Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right choice, only to determine him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
For all of its sensorial timelessness, “The Girl to the Bridge” can be far too drunk By itself fantasies — male or otherwise — to shimmer as strongly today as it did in the summer of 1999, but Leconte’s faith from the ecstasy of filmmaking lingers all of the same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is usually a girl in addition to a knife).
The second of three lower-spending plan 16mm films that Olivier Assayas would make between 1994 romance sex video and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s past in order to help divine its future; it’s a lithe and unassuming piece of meta-fiction that goes many of the way back towards the silent era in order to reach at something that feels completely new — or that at least reminds adult videos audiences of how thrilling that discovery could be.
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But Kon is clearly less interested in the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors influence that wedges the starlet even more away from herself with every subsequent trauma — real or imagined — until the imagined comes to think a reality all its personal. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-id would become its individual kind of public bloodsport (even in the absence of fame and folies à deux).
“After Life” never describes itself — on the contrary, it’s presented with the boring matter-of-factness of another Monday morning on the office. Somewhere, from the silent limbo between this world along with the next, there is often a spare but peaceful facility where the useless are interviewed about their lives.
Gus Van Sant’s gloriously sad road movie borrows from the worlds of creator John Rechy and even the director’s possess “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark in the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, adult videos while also giving us all many a cause to swoon over their indie heartthrob status.
You might love it for that licensed to lick misty stone serviced by white woman whip-wise screenplay, which won Callie Khouri an Academy Award. Or even for your 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 girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
His first feature straddles both worlds, exploring the conflict that he himself felt as being a young male in this lightly fictionalized version of his own story. Haroun plays himself, an up-and-coming Chadian film director based in France, who returns to his birth country to attend his mother’s funeral.
” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda to be a girl who’s so precocious that she belittles her own grief. Danny Aiello is deeply endearing as being the previous school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so large that you could actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!