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The impact is that of a modern-working day Bosch painting — a hellish eyesight of the city collapsing in on itself. “Jungle Fever” is its personal 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 strategies. 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 and the Sunlight, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of identification more than anything else.
This clever and hilarious coming of age film stars Beanie Feldstein and Kaitlyn Dever as two teenage best friends who elect to go to at least one last party now that high school is over. Dever's character has one of many realest young lesbian stories you will see in a very movie.
Penned with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” could be the movie that cemented its director as an international power, and it remains one of several most influencing things he’s ever made. —CA
On the audio commentary that Terence Davies recorded for your Criterion Collection release of “The Long Day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual sense of disregard: “For a repressed homosexual, I’ve always been waiting for my love to come.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to generally be every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” can be a clenched sleepwalk through a swirl of overlapping dreamstates.
Seen today, steeped in omegle sex nostalgia for your freedoms of a pre-handover Hong Kong, “Chungking Categorical” still feels new. The film’s lasting power is especially impressive during the face of such a fast-paced world; a world in which nothing could be more beneficial than a concrete offer from someone willing to share the same future with you — even if that offer is written over a napkin. —DE
Skip Ryan Murphy’s 2020 remake for Netflix and go straight to the original from fifty years before. The jav porn first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being on the list of first American movies to revolve entirely around gay characters.
Probably you love it for your message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the process.
But when someone else is responsible for making “Mima’s Room,” how does the site’s site seem to know more about Mima’s thoughts and anxieties than she does herself? Transformatively adapted from a pulpy novel that had much less on its mind, “Perfect Blue” tells a DePalma-like story of violent obsession that soon accelerates into the stuff of the full-on psychic collapse (or two).
Al xnx video Pacino portrays a neophyte criminal who robs a lender in order to raise pornyub money for his lover’s gender-reassignment operation. Based on a true story and nominated for six Oscars (including Best Actor for Pacino),
Making the most of his background as being a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a number of polite interrogations, his camera watching observantly as more than a half-dozen characters attempt to distill themselves into a person perfect instant. The episodes they ultimately choose are wistful and wise, each moving in its very own way.
And but, 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 on the boy’s father.
From that rich premise, “Walking and Talking” churns into a characteristically reduced-vital but razor-sharp drama about the complexity of women’s interior lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their asiansex palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.