7.5 Another Korean short worth a watch. However, I do not like it as much as many others do. It is good film-making, but the story just is not entertaining enough to make me fall for it as hard as many appear to have done.
It’s hard to explain “Until the End of the World,” Wim Wenders’ languid, significantly-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 Harm) meeting and un-meeting while hopping from France to Germany to Russia to China to America on the operate from factions of law enforcement and bounty hunter syndicates, but it’s also about an experimental technological innovation that allows people to transmit memories from 1 brain to another, and about a planet living in suspended animation while waiting for the satellite to crash at an unknown place at an unknown time And maybe cause a nuclear disaster. A good part of it really is just about Australia.
This is all we know about them, but it’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see who has taken them—we just see Kevin being lifted from the trunk of an automobile, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever child that He's, although, Bobby finds a way to break free and operate to safety—only to hear Kevin’s screams echoing from a giant brick house to the hill behind him.
To discuss the magic of “Close-Up” is to discuss the magic of your movies themselves (its title alludes to some particular shot of Sabzian in court, but also to the type of illusion that happens right in front of your face). In that light, Kiarostami’s dextrous work of postrevolutionary meta-fiction so naturally positions itself as on the list of greatest films ever made because it doubles given that the ultimate self-portrait of cinema itself; of your medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound.
Within the audio commentary that Terence Davies recorded for that Criterion Collection release of “The Long Day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual sense of disregard: “Being a repressed homosexual, I’ve always been waiting for my love to come.
Dash’s elemental route, the non-linear structure of her narrative, and also the sensuous pull of Arthur Jafa’s cinematography combine to produce a rare film of raw beauty — a person that didn’t ascribe to Hollywood’s idea of Black people or their cinema.
It’s no incident that “Porco Rosso” is set at the peak on the interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed because of the looming specter of fascism plus a deep sense of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of exciting to it — this is really a movie that feels as breezy and ecstatic as flying a Ghibli plane through a clear summer afternoon (or at least as ecstatic because it makes that seem).
She grew up observing her acclaimed filmmaker father Mohsen Makhmalbaf as he directed and edited his work, and He's credited alongside his daughter for a co-writer on her glorious debut, “The Apple.”
These days, it could be hard to individual Werner Herzog from the meme-driven caricature that hqpprner he’s cultivated Considering that the success of “Grizzly Male” — his deadpan voice, his 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 during the world.
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A moving tribute towards the audacious spirit of African filmmakers — who have persevered despite an absence of infrastructure, a dearth of enthusiasm, and important little of your regard afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays bear his own feeling of displacement, as he’s unable to suit in or be fully understood no matter where he is. The film ends in the chilling moment that speaks to his loneliness by relaying an easy emotional truth within a striking image, a signature that has resulted in Haroun making one of many most significant filmographies over the planet.
Viewed through a different lens, the movie is also a sexual intercourse comedy, perceptively dealing with themes of queerness, body dysphoria as well as desire to get rid of oneself within the throes of pleasure. Cameron Diaz, playing Craig’s frizzy veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic given that the haughty Maxine, a coworker who Craig covets.
Over and above that, this buried gem will always shine because of The easy knowledge it unearths inside the story of two people who come to understand the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only negative company.” —DE
A crime epic that will likely stand given that the pinnacle achievement and clearest, still most complex, expression in porntn the great Michael Mann’s cinematic eyesight. There are so many sequences of staggering filmmaking accomplishment — the opening 18-wheeler heist, Pacino realizing they’ve been made, De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe worshipped brunette floosy tessa lane gets fucked sideways it’s all in the same film.