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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the end,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
I'm thirteen years old. I'm in eighth grade. I'm finally allowed to go to the movies with my friends to view whatever I want. I have a fistful of promotional film postcards carefully excised from the most modern concern of fill-in-the-blank teen journal here (was it Sassy? YM? Seventeen?
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In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy as a cirrus cloud.
The emotions associated with the passage of time is an enormous thing to the director, and with this film he was able to do in one night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means for being a freshman kissing a cool older girl given that the Solar rises, the perception of being a senior staring at the end of the party, and why the tip of 1 major life stage can feel so aimless and Weird. —CO
The best from the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two modern grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
The second of three small-spending budget 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 every one of the way back to your silent era hindi sex video in order to reach at something that feels completely new — or that at least reminds audiences of how thrilling that discovery could xxxvideo be.
The relentless nihilism of Mike Leigh’s “Naked” is usually a hard capsule to swallow. Well, less a tablet than a glass of acid with rusty blades for ice cubes. David Thewlis, in a very breakthrough performance, is on a dark night with the soul en route to the tip with the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on the way there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in a very dank Manchester alley before he’s chased off by her family and flees to a crummy corner of east London.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by funding, happenstance, and a standard battle for self-definition inside of a chaotic contemporary world, there’s something quasi-sacrilegious about singling certainly one of them out in spite on the other two — especially when that honor is bestowed on “Blue,” the sexy video bf first and most severe chapter of the triptych whose final installment is usually considered the best between equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a society whose interconnectedness was already starting to reveal its natural solipsism.
“After Life” never clarifies itself — Quite the opposite, it’s presented with the dull matter-of-factness of another Monday morning at the office. Somewhere, in the silent limbo between this world along with the next, there can be a spare but peaceful facility where the useless are interviewed about their lives.
But Makhmalbaf’s storytelling praxis is so patient and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory on the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable orn hub that distills the wonders of the liberated life. —NW
It’s no wonder that “Princess Mononoke,” despite being a massive hit in Japan — as well as a watershed second for anime’s presence over the world stage — struggled to find a foothold with American audiences who are rarely asked to acknowledge their hatred, and even more rarely challenged to harness it. Certainly not by a “cartoon.
This film follows two teen boys, Jia-han and Birdy as they fall in love in the 1980's just after Taiwan lifted its martial legislation. Given that the country transitions from rigorous authoritarianism to become the most LGBTQ+ friendly country in Asia, The 2 boys grow and have their love tested.
The crisis of identity on the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Treatment” addresses an essential truth about Japanese Culture, where “the nail that sticks up gets pounded down.” Even fkbae so the provocative existential issue with the core from the film — without your position and your family and your place within the world, who are you really?