They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
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The cleverly deceitful marketing campaign that turned co-directors Daniel Myrick and Eduardo Sánchez’s first feature into on the list of most profitable movies since “Deep Throat” was designed to goad people into assuming “The Blair Witch Project” was real (the trickery involved the use of something called a “website”).
To discuss the magic of “Close-Up” is to discuss the magic on the movies themselves (its title alludes to a particular shot of Sabzian in court, but also to the sort 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 one of several greatest films ever made because it doubles because the ultimate self-portrait of cinema itself; with the medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound.
The movie was inspired by a true story in Iran and stars the actual family members who went through it. Mere days after the news product broke, Makhmalbaf turned her camera around the family and began to record them, directing them to reenact certain scenes according to a script. The ethical thoughts raised by such a technique are complex.
auteur’s most endearing Jean Reno character, his most discomforting portrayal of the (very) young woman to the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over frequent sense at every possible juncture — how else to explain Léon’s superhuman capability to fade into the shadows and crannies from the Manhattan apartments where he goes about his business?
The LGBTQ Neighborhood has come a long way inside the dark. For decades, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it was usually in the shape of broad stereotypes providing transient comedian aid. There was no on-screen representation of those inside the Neighborhood as standard people or as people fighting desperately for equality, though that slowly started to alter after the Stonewall Riots of 1969.
That question is essential to understanding the film, whose hedonism is just a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s direction is cold and medical, the near-regular fucking mechanical and indiscriminate. The only time “Crash” really comes alive is while in the instant between anticipating nude death and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the car as being a phallic image, its potency tied to its potential for violence, and redraws www xxxcom the boundaries of romance around it.
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Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What in the event you found a portal into a famous actor’s mind? Still the movie isn’t designed to wag a finger at our culture’s obsession with the lifestyles of your rich and famous.
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 from the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of the liberated life. —NW
The year Caitlyn Jenner came out as a trans woman, this Oscar-successful biopic about Einar Wegener, one of the first people to undergo gender-reassignment surgical procedures, helped to even further raise trans awareness and heighten visibility in the community.
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From that rich premise, “Walking and Talking” churns into a characteristically minimal-important but razor-sharp drama about the complexity of women’s interior lives, as the writer-director brings lesbify such deep oceans of feminine specificity to her dueling heroines (and their palpable monitor chemistry) that leah gotti her attention can’t help but cascade down onto her male characters as well.