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this relatively unsung drama laid bare the devastation the previous pandemic wreaked within the gay Neighborhood. It had been the first film dealing with the subject of AIDS to receive a wide theatrical release.
‘s Rupert Everett as Wilde that is something of an epilogue to your action inside the older film. For some romantic musings from Wilde and many others, check out these love quotations that will make you weak during the knees.
It’s easy for being cynical about the meaning (or deficiency thereof) of life when your occupation involves chronicling — on an once-a-year basis, no less — if a large rodent sees his shadow at a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is set by grim chance) and execution (sounds poor enough for someday, but what said working day was the only day of your life?
Well, despite that--this was among my fav Korean BL shorts and I absolutely loved the subtle and soft chemistry between the guys. They were just somehow perfect together, in a method I can't quite put my finger on.
The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.
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 as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is really a clenched sleepwalk through a swirl of overlapping dreamstates.
Iris (Kati Outinen) works a dead-finish occupation in a match factory and lives with her parents — a drab existence that she tries to flee by reading romance novels and slipping out to her neighborhood nightclub. When a person she meets there impregnates her and then tosses her aside, Iris decides to have 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 The film is practically wordless, its characters so miserable and withdrawn that they’re barely in a position to string together an uninspiring phrase.
That issue is essential to understanding the film, hotsextube whose hedonism is simply a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s way is cold and medical, the near-constant fucking mechanical and indiscriminate. The only time “Crash” really comes alive is within the instant between anticipating Demise and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle to be a phallic porbhub symbol, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
The Taiwanese master established himself as the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives inside the ‘90s much the best way “Gertrud” did during the ‘60s: a film of such luminous beauty and singular style that it exists outside from the time in which it was made altogether.
It didn’t work out so well to the last girl, but what does Advertèle care? The hole in her heart is almost as massive as being the gap between her teeth, and there isn’t a man alive who’s been ready to fill it to date.
Where does one even start? No film on this list — nearly and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The End of Evangelion,” just as no film on this list is as quick to antagonize its target audience. Essentially a mulligan to the last two episodes of Hideaki Anno’s totemic anime collection “Neon Genesis Evangelion” (and also a reverse shot of eva lovia kinds for what happens in them), this biblical psychological breakdown about giant mechas as well as rebirth of life mature tube on the planet would be complete gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some incredibly hot new yoga trend.
You might love it with the whip-wise screenplay, which received Callie Khouri an Academy Award. Or possibly 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 person trying to rape Thelma outside a dance hall.
The film that follows spans the story of that summer, during which Eve comes of age through a number of brutal lessons that drive her to confront the fact that her family — and her broader Group outside of them — will not be who childish folly experienced led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, as well as the late-great Diahann Carroll to produce a cinematic matriarchy that holds righteous judgement over the weakness of Gentlemen, who will be in turn are still performed with enthralling complexity with the likes of hentaimanga Samuel L.
Mambety doesn’t underscore his points. He lets Colobane’s turn towards mob violence occur subtly. Shots of Linguere staring out to sea mix beauty and malice like couple things in cinema considering that Godard’s “Contempt.”