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Almost 30 years later (with a Broadway adaptation during the works), “DDLJ” remains an indelible instant in Indian cinema. It told a poignant immigrant story with the message that heritage is not lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
But this drama has even more than the exceptionally unique story that it's about the surface. Set these guys and how they experience their world and each other, in a very deeper context.
Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a battling young singer for the Empress of Blues. Latifah delivers a great performance, as well as film is full of amazing music. When it aired, it had been the most watched HBO film of all time.
Like many of the best films of its decade, “Beau Travail” freely shifts between fantasy and reality without stopping to establish them by name, resulting in a very kind of cinematic hypnosis that audiences had rarely seen deployed with such mystery or confidence.
Unspooling over a timeline that leads up into the show’s pilot, the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a intercourse worker who lived inside of a trailer park, before pivoting to observe Laura during the week leading as much as her murder.
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (browse by Giovanni Ribisi), the film peers into the lives of your Lisbon sisters alongside a clique of neighborhood boys. Mesmerized by the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.
Skip Ryan Murphy’s 2020 remake for Netflix and go straight on the original from 50 years earlier. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being one of many first American movies to revolve entirely around gay characters.
Tarr has never been an overtly political filmmaker (“Politics makes new porn everything way too easy and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is while in the thrall of another authoritarian leader displays both the recursive arc of current history, as well as full power of Tarr’s sinister parable.
Most American audiences had never seen anything quite like the xxxhd Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters in the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything from cyberpunk parables bondage girl punish my nineteen year old rump and mouth to kung fu action, brain-bending philosophy towards the instantly inconic influence known as “bullet time” — number of aueturs have ever delivered such a vivid vision (times two!
“Public Housing” presents a tough balancing act for your filmmaker who’s drawn to poverty but also dead-set against the manipulative sentimentality of aestheticizing it, and yet Wiseman is uniquely well-geared up for that challenge. His camera just lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her individual, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then hentairead celebrates by calling a loved a single to talk about how she’s not “doing so incredibly hot.
You might love it to the whip-wise screenplay, which won Callie Khouri an Academy Award. Or even for your chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
Life itself is not really just a romance or maybe a comedy or an overwhelming because of “ickiness” or simply a chance to help out one particular’s ailing neighbors (by way of a donated bong or what have you), but all of those things: That’s a lesson Cher learns throughout her cinematic travails, but a single that “Clueless” was created to celebrate. That’s always in vogue. —
David Cronenberg adapting a J.G. Ballard novel about people who get turned on by car or truck crashes was bound for being provocative. “Crash” transcends the label, grinning in perverse delight since it sticks its fingers into a gaping wound. Something similar happens while in the live porn backseat of an automobile in this movie, just a person in the cavalcade of perversions enacted because of the film’s cast of pansexual risk-takers.