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The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite usually—hiding behind 1 door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night and the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence efficiently, prompting us to hold our breath just like the kids to avoid being found.
“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 Sunlight, and keeps its unerring gaze focused about the intersection between noir and Blackness — is about the duality of id more than anything else.
Some are inspiring and imagined-provoking, others are romantic, funny and just basic exciting. But they all have 1 thing in typical: You shouldn’t miss them.
The outdated joke goes that it’s hard for any cannibal to make friends, and Hen’s bloody smile of the Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the monitor until everyone gets their just desserts: “Take in me.” —DE
There are profound thoughts and concepts handed out, but it's never published to the nose--It is really refined enough to avoid that trap. Some scenes are just exceptional. Like the 1 in school when Yoo Han is trying to convince Yeon Woo by talking about shade jav sub principle and showing him the colour chart.
For all of its sensorial timelessness, “The Girl within the Bridge” may very well be too drunk By itself fantasies — male or otherwise — to shimmer as strongly today mainly because it did in the summer of 1999, but Leconte’s faith in the ecstasy of filmmaking lingers all of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie can be a girl in addition to a knife).
Iris (Kati Outinen) works a useless-close task at a match factory and lives with her parents — a drab existence that she tries to flee by reading romance novels and slipping out to hindi porn her local nightclub. When a man 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 capable to string together an uninspiring phrase.
“Admit it isn’t all cool calculation with you – that you’ve received a heart – even if it’s small and feeble and you may’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, brandi love this film contains a heart as well.
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Mahamat-Saleh Haroun is among Africa’s greatest living filmmakers, and while he sets many his films in his indigenous Chad, a couple of others look at Africans battling in France, where he has settled for most of his adult life.
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Rivette was the most narratively elusive from the French filmmakers who rose up with the New Wave. He played with time and long-form storytelling within the thirteen-hour “Out one: Noli me tangere” and showed his extraordinary affinity for women’s stories in “Celine and Julie Go Boating,” one of the most purely enjoyment movies of the ‘70s. An affinity for conspiracy, of detecting some mysterious plot twinks begging for daddy gay sex and boy with machines from the margins, suffuses his work.
Ionescu brings with him not only a deft hand at operating the farm, but also an intimacy and romanticism that is spellbinding not only for Saxby, nevertheless the audience as well. It is really truly a must-watch.