In true ‘90s underground vogue, Dunye enlisted the photographer Zoe Leonard to generate an archive of your fictional actress and blues singer. The Fae Richards Photo Archive consists of 82 images, and was shown as part of Leonard’s career retrospective in the Whitney Museum of Modern Art in 2018. This spirit of collaboration, as well as radical act of writing a Black and queer character into film history, is emblematic of a ‘90s arthouse cinema that wasn’t afraid to revolutionize the past in order to produce a more possible cinematic future.
It’s tricky to describe “Until the tip of the World,” Wim Wenders’ languid, considerably-flung futuristic road movie, without feeling like you’re leaving something out. It’s about a couple of drifters (luminous Solveig Dommartin and gruff William Hurt) meeting and un-meeting while hopping from France to Germany to Russia to China to America over the run from factions of regulation enforcement and bounty hunter syndicates, but it really’s also about an experimental technological know-how that allows people to transmit memories from 1 brain to another, and about a planet living in suspended animation while waiting for your satellite to crash at an unknown place at an unknown time and possibly cause a nuclear catastrophe. A good portion of it is just about Australia.
It’s interesting watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer so far away from the anarchist bent of “Bizarre Days.” And yet it’s our relationship to footage of Black trauma that is different too.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to your social order of racially segregated 1950s Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Generated in 1994, but taking place within the eve of Y2K, the film – set in an apocalyptic Los Angeles – is really a clear commentary on the police assault of Rodney King, and a reflection about the days when the grainy tape played on a loop for white and Black audiences alike. The friction in “Strange Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right final decision, only to check out him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving 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.
The ingloriousness of war, and the basis of pain that would be passed down the generations like a cursed heirloom, could be seen even inside the most unadorned of images. Devoid of even the tiniest 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
Sure, there’s a world of darkness waiting for them when they get there, but that’s just how it goes. There are shadows in life
These days, it may be hard to independent Werner Herzog from the meme-driven caricature that he’s cultivated For the reason that achievements of “Grizzly Guy” — his deadpan voice, his free porn sites love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they are classified as the most horrifying, cannibalistic, and nightmarish creatures within the world.
Most of the buzz focused around the prosthetic nose Oscar winner Nicole Kidman wore to play legendary creator Virginia Woolf, however the film deserves extra credit score for handling LGBTQ themes in such a poetic and mostly understated way.
foil, the nameless hero manifesting an imaginary friend from all of the banal things he’s been conditioned to want and become. Quoth Tyler Durden: “I look like you wanna look, I fuck like you wanna fuck, I'm wise, able, and most importantly, I am free in x vedio all the ways that you are not.
For such a singular artist and aesthete, Wes Anderson has always been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For evidence, just look at the way his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, towards the mild awe that Gustave H.
“The Truman Show” may be the rare high concept movie that executes its eye-catching premise cheating porn to complete perfection. The concept of a man who wakes as many as learn that his entire life was a simulated reality show could have easily gone awry, but director Peter Weir and screenwriter Andrew Niccol managed to craft a plausible dystopian satire that has as much to say about our relationships with God mainly because it does our relationships with the Kardashians.
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by auto crashes was bound to generally be provocative. “Crash” transcends the label, grinning in perverse delight because it sticks its fingers chubby porn into a gaping wound. Something similar happens within the backseat of a car or truck in this movie, just 1 czech porn during the cavalcade of perversions enacted with the film’s cast of pansexual risk-takers.