The result is that of a modern-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its own concussive drive, bursting with so many ideas and themes about race, politics, and love that they almost threaten to cannibalize each other.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld techniques. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as Solar, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of identity more than anything else.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath from the girls — who walk with limps and have barely learned to talk — being permitted to wander the streets and meet other small children for the first time.
Created with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” is the movie that cemented its director being an international force, and it remains on the list of most impacting things he’s ever made. —CA
Back in 1992, however, Herzog experienced less cozy associations. His sparsely narrated fifty-moment documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, considerably removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism to the disaster. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such vast nightmare landscapes that it makes their prayers look like they are being answered via the Devil instead.
“Rumble during the Bronx” could be set in New York (while hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong to your bone, as well as decade’s single giddiest display of why Jackie Chan deserves his Recurrent comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the Big Apple for his boy toy struggles to swallow a huge cock uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is from the charts, the jokes join with the power of spinning windmill kicks, as well as the Looney Tunes-like action sequences are more impressive than just about anything that experienced ever been shot on these shores.
Seen today, steeped in nostalgia for that freedoms of a pre-handover Hong Kong, “Chungking Convey” still feels new. The film’s lasting power is especially impressive in the face of such a fast-paced world; a world in which nothing could be more useful than a concrete offer from someone willing to share the same future with you — even if that offer is prepared with a napkin. —DE
Skip Ryan Murphy’s 2020 remake for Netflix and go straight into the original from fifty years previously. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being one of several first American movies to revolve entirely around gay characters.
Description: A young boy struggles to have his bike back up and working after it’s deflated again and again. Curious for the way to patch the leak, he turned to his handsome step daddy for help. The older guy is happy to help him, bringing him into the garage for some intimate guidance.
Instead of acting like Advertisementèle’s knight in shining armor, Gabor blindfolds himself and throws razor-sharp daggers at her face. Over time, however, the trust these lost souls place in each other blossoms into the omegle sex kind of ineffable bond that only the movies can make you believe in, as their act soon takes on an erotic quality that cuts much deeper than intercourse.
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There’s a purity towards the poetic realism of Moodysson’s filmmaking, which usually ignores the very low-price range constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral comfort and ease for his young cast along with the lives they so naturally inhabit for Moodysson’s camera. —CO
Rivette was the most narratively elusive from the French filmmakers who rose up with The brand new Wave. He played with time and long-kind storytelling from the thirteen-hour “Out 1: Noli me tangere” and showed his extraordinary affinity for women’s stories in “Celine and Julie Go Boating,” among the list of most purely enjoyment movies on the ‘70s. An affinity for conspiracy, of detecting some mysterious plot from the margins, suffuses his work.
Claire Denis’ “Beau Travail” unfurls coyly, revealing one particular indelible image after another roxie sinner without ever fully giving itself away. Released with the tail finish of the millennium (late and liminal enough that people have long xvideos gay mistaken it for a product with the twenty first century), the French auteur’s sixth feature demonstrated her masterful ability to assemble a story by her personal fractured design, her work normally composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next working day.