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The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite routinely—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 successfully, prompting us to hold our breath just like the kids to avoid being found.
The characters that power so much of what we think of as “the movies” are characters that go for it. Dramatizing someone who doesn’t Opt for It's a much harder ask, more often the province of your novel than cinema. But Martin Scorsese was up with the challenge in adapting Edith Wharton’s 1920 novel, which features a character who’s just that: Newland Archer (Daniel Working day-Lewis), one of many young lions of 1870s New York City’s elite, is in love with the Countess Olenska (Michelle Pfeiffer), who’s still married to another male and finding it challenging to extricate herself.
Some are inspiring and thought-provoking, others are romantic, funny and just basic fun. But they all have one particular thing in common: You shouldn’t miss them.
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 for 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 had.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for a lack of ideas. But in Zhang Yimou’s “Raise the Red Lantern,” the utter decadence in the imagery is just a delicious more layer to some beautifully composed, exquisitely performed and totally thrilling bit of work.
The best with the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two current grads working as junior associates at a publishing house (how romantic to think that was ever seen as such an aspirational career).
The second of three small-finances 16mm films that Olivier Assayas would make between 1994 and 1997, “Irma Vep” wrestles with the inexorable presentness of cinema’s past in order to help divine its future; it’s a lithe and unassuming piece of meta-fiction that goes all the way back towards the silent period in order to arrive at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could naughty lesbians cannot have enough of each other be.
Davis renders period of time piece scenes as a Oscar Micheaux-motivated black-and-white silent film replete with inclusive intertitles and archival photographs. One particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie within a theater. It’s short, but exudes Black Pleasure by granting a rare historical nod recognizing how Black people with the previous experienced more than crushing hardships.
As authoritarian tendencies are seeping into politics on a global scale, “Starship Troopers” paints shiny, ugly insect-infused allegories with the dangers of blind adherence as well as power in targeting an easy enemy.
Spielberg couples that vision of America with a way of pure immersion, especially during the celebrated D-Day landing sequence, where Janusz Kaminski’s desaturated, sometimes handheld camera, brings unparalleled “you happen to be there” immediacy. The way he toggles scale and stakes, from the endless chaos of Omaha Beach, to the relatively small fight at the end to hold a bridge within a bombed-out, abandoned French village — nevertheless giving each fight equal emotional fat — is true directorial mastery.
Gus Van Sant’s gloriously sad road movie borrows from the worlds of writer John Rechy and even the director’s very own “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark inside the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving trannyone us all many a purpose to swoon over their indie heartthrob status.
The ’90s began with a revolt against the kind of bland Hollywood item that people might kill to check out in theaters today, creaking open a small window of time in which a more commercially practical American unbiased cinema began seeping into mainstream fare. Young and exciting directors, many of whom are actually main auteurs and perennial IndieWire favorites, were given the means to make multiple films — some of them on massive scales.
With his 3rd feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning xvedeo Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a career-best performance from the legendary Pam Grier. While the film never tries to hide The very fact that it owes as much to Tarantino’s love for Blaxploitation because it does to his affection for Leonard’s source novel, Grier’s nuanced performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.
When Satoshi Kon died from pancreatic cancer in 2010 in the tragically premature age of forty six, not only did the film world lose one among its greatest storytellers, it also lost considered one of its most gifted seers. Nobody experienced a my desi net more exact grasp on how the digital age would see fiction and reality bleed into each other to the most private amounts of human perception, and all four of your wildly different features that he made in his temporary career (along with his masterful TV show, “Paranoia Agent”) hotsextube are bound together by a shared preoccupation with the fragility in the self in the shadow of mass media.