The delightfully deadpan heroine for the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his have novel of the same name, could be compared to Amélie on Xanax. Her day-to-working day life is filled with chance interactions and a fascination with strangers, although, at 27, she’s more concerned with trying to alter her own circumstances than with facilitating random acts of kindness for others.
The Altman-esque ensemble approach to building a story around a particular event (in this case, the last day of high school) had been done before, although not quite like this. There was a great deal of ’70s nostalgia inside the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the large cast of characters are made to feel so familiar that audiences are essentially just hanging out with them for 100 minutes.
More than anything, what defined the ten years was not just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors for the endless possibilities of cinematic storytelling. Directors like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their possess terms, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, plus the movies are every one of the better for that.
Established in Philadelphia, the film follows Dunye’s attempt to make a documentary about Fae Richards, a fictional Black actress from the 1930s whom Cheryl discovers playing a stereotypical mammy role. Struck by her beauty and yearning to get a film history that reflects someone who looks like her, Cheryl embarks over a journey that — while fictional — tellingly yields more fruit than the real Dunye’s ever experienced.
This drama explores the interior and outer lives of various LGBTQ characters dealing with repression, melancholy and hopelessness across centuries.
Side-eyed for years before lesbian porn videos the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to get every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” is usually a clenched sleepwalk through a swirl of overlapping dreamstates.
During the films of David Fincher, everybody needs a foil. His movies normally boil down into the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties them together.
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless twenty-something women like Frances Ha or Julie from “The Worst Person inside the World,” tinged with Rejtman’s standard brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identification crisis of types, prompting her to genshin r34 curl her hair, don fake nails, and wear a fur coat to a meeting organized between The 2.
But Kon is clearly less interested in the (gruesome) slasher angle thai street whore loves being creampied by foreigners than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors influence that wedges the starlet even further away from herself with every subsequent trauma — real or imagined — until the imagined comes to suppose a reality all its have. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-identification would become its personal kind of public bloodsport (even within the absence of fame and folies à deux).
I have to rewatch it, since I'm not sure if I received everything right in terms of dynamics. I might say that unquestionably was an intentional move through the script writer--to enhance the theme of reality and play blurring. sparkbang Ingenious--as well as confusing.
The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap energy of the “Lupin the III” episode, begins with The very fact that Gabor doesn’t even try (the latest flimsiness of his knife-throwing act indicates an impotence of a different kind).
Making the most of his background as 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 try and distill themselves into one particular perfect moment. The episodes they ultimately choose are wistful and wise, each moving in its personal way.
This underground cult classic tells the porn stories story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
As handsome and charming as George Clooney is, it’s hard to imagine he would have been the star he is today if Soderbergh hadn’t unlocked the full depth of his persona with this role.