“La Belle Noiseuse” (Jacques Rivette, 1991) Jacques Rivette’s four-hour masterpiece about the act of artistic generation turns the male gaze back on itself. True, it’s hard to think of an actress who’s had to be naked onscreen for any longer duration of time in a single movie than Emmanuelle Beart is in this one.
The Altman-esque ensemble method of building a story around a particular event (in this circumstance, the last day of high school) experienced been done before, but not quite like this. There was a great deal of ’70s nostalgia during the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the enormous cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for one hundred minutes.
Yang’s typically mounted yet unfussy gaze watches the events unfold across the backdrop of nineteen fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial legislation and the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its useless leaders — feel countrywide in scale.
It doesn’t get more romantic than first love in picturesque Lombardo, Italy. Throw within an Oscar-nominated Timothée Chalamet as being a gay teenager falling hard for Armie Hammer’s doctoral student, a dalliance with forbidden fruit and in A significant supporting role, a peach, and you simply’ve bought amore
Steeped in ’50s Americana and Cold War fears, Brad Hen’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Male,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and also the sentient machine who refuses to serve his violent purpose. Since the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing with the box office. Around the surface, it might appear to be loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It had been directed by Mike Nichols (
In the films of David Fincher, everybody femdom needs a foil. His movies twink jock chris keaton fucked hardway by tyler tanner often boil down on the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
That question is essential to understanding the film, whose hedonism is simply a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s route is cold and medical, the near-continual fucking mechanical and indiscriminate. The only time “Crash” really comes alive is during the instant between anticipating Loss of life and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle like a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
“Souls don’t die,” repeats the big title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters in the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to the instantly inconic result known as “bullet time” — number of aueturs have ever delivered such a vivid vision (times two!
Adapted from the László Krasznahorkai novel of the same name and maintaining the book’s dance-motivated chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist Hungary, freexxx news of which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey on the desolation he finds One of the desperate and easily manipulated townsfolk.
You might love it with the whip-smart screenplay, which received Callie mom sex video Khouri an Academy Award. Or even for 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 girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
Maybe it’s fitting that a road movie — the ultimate road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together create a feeling of a grand cohesive whole. There is beauty in its meandering quality, its emphasis not on the type of end-of-the-world plotting that would have Gerard Butler foaming at the mouth, but within the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
The film offers one of several most enigmatic titles of the 10 years, the Peculiar, sonorous juxtaposition of lesbian strapon those two words almost always presented within the original French. It could be examine as “beautiful work” in English — but the concept of describing work as “beautiful” is somehow dismissive, as If your legionnaires’ highly choreographed routines and domestic tasks are more of a performance than part of an advanced military approach.