The effect is that of a contemporary-day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its very own concussive force, 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 genre picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as the sun, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of identification more than anything else.
A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of identification and free will themselves are called into question.
In 1992, you’d have been hard-pressed to find a textbook that included more than a sentence about the Country of Islam leader. He’d been erased. Relegated for the dangerous poisoned tablet antithesis of Martin Luther King Jr. Actually, Lee’s 201-moment, warts-and-all cinematic adaptation of “The Autobiography of Malcolm X” is still revolutionary for shining a light on him. It casts Malcolm not just as flawed and tragic, but as heroic too. Denzel Washington’s interpretation of Malcolm is meticulous, honest, and enrapturing in the film whose every second is packed with drama and pizazz (those sensorial thrills epitomized by an early dance sequence in which each composition is choreographed with eloquent grace).
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
Duqenne’s fiercely determined performance drives every body, as being the restless young Rosetta takes on challenges that no person — Enable alone a child — should ever have to face, such as securing her next meal or making sure that she and her mother xhmaster have operating water. Eventually, her learned mistrust of other people leads her to betray the 1 friend she has in order to steal his occupation. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded from her; the film opens as she’s being fired from a factory career from which she must be dragged out kicking and screaming, and it ends with her in much the same state.
The ingloriousness of war, and the foundation of pain that would be passed down the generations like a cursed heirloom, can be seen even inside the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity in the long career that has alway looked at us askance. —LL
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it absolutely was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living crafting letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe and a bit tactless, Montenegro’s Dora is far from a lovable maternal figure; she’s quick to judge her clients and dismisses their struggles with arrogance.
Description: A young boy struggles to receive his bicycle back up and working after it’s deflated again and again. Curious for a way to patch the leak, he turned to his handsome step daddy for help. The older male is happy to help him, bringing him into the garage for some intimate guidance.
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” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and most of all in his possess films.
was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not specifically shooshtime underappreciated. Still, for the many plaudits, this lush, lovely interval lesbian romance doesn’t receive the credit history it deserves for presenting such a dead-precise depiction on the power balance in the queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
And however, 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 personal 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 with the boy’s father.
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