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this relatively unsung drama laid bare the devastation the previous pandemic wreaked around the gay community. It was the first film dealing with the subject of AIDS to receive a wide theatrical release.
Almost 30 years later (with a Broadway adaptation while in the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage isn't lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
Yang’s typically preset still unfussy gaze watches the events unfold across the backdrop of fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation along with the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of one of its useless leaders — feel national in scale.
Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to your social order of racially segregated 1950s Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Steeped in ’50s Americana and Cold War fears, Brad Chicken’s first (and still greatest) feature is tailored from Ted Hughes’ 1968 fable “The Iron Man,” about the inter-material friendship between an adventurous boy named Hogarth (Eli Marienthal) and the sentient machine who refuses to serve his violent purpose. As the small-town boy bonds with his new pal from outer space, he also encounters two male figures embodying antithetical worldviews.
A married guy falling in love with another male was considered scandalous and potentially career-decimating movie fare during the early ’80s. This unconventional (with the time) love triangle featuring Charlie’s Angels
It’s no accident that “Porco Rosso” is set at the height of your interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed from the looming specter of fascism as well as a deep feeling of future nostalgia for all that would be forfeited to hard sex it. But pronhub there’s also such a rich vein of entertaining to it — this is usually 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 feel).
I might spoil if I elaborated more than that, but let's just say that there was a plot component shoved in, that should have been left out. Or at least done differently. Even nevertheless it absolutely was small, and was kind of poignant for the development of the remainder of the movie, IMO, it cracked that easy, fragile feel and tainted it with a cliché melodrama-plot device. And they didn't even make use of the whole thing and just brushed it away.
” He may be a foreigner, but this is actually a world he knows like the back of his hand: Major guns. Brutish men. Sensitive-looking girls who harbor more power than you could potentially imagine. And binding them all together is a way that the most beautiful things in life aren’t meant for us to keep or incorporate. Whether a houseplant or simply a troubled child with a bright future, when you love something you have to Allow it grow. —DE
a crime drama starring Al Pacino being an undercover cop hunting down a serial killer targeting gay men.
But Makhmalbaf’s storytelling praxis is so patient vedio sex and full of temerity that the film outgrows its verité-style portrait and becomes something mythopoetic. Like the allegory trannyone with the cave in Plato’s “Republic,” “The Apple” is ultimately an epistemological tale — a timeless parable that distills the wonders of a liberated life. —NW
Despite criticism for its fictionalized account of Wegener’s story as well as the casting of cisgender actor Eddie Redmayne in the title role, the film was a crowd-pleaser that performed well with the box office.
With his third feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning 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 since porncomics it does to his affection for Leonard’s resource novel, Grier’s nuanced performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.
Reduce together with a degree of precision that’s almost entirely absent from the rest of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting straight from the drama, and Besson’s eyesight of a sweltering Manhattan summer is every bit as evocative because the film worlds he created for “Valerian” or “The Fifth Element.