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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.
Almost thirty years later (with a Broadway adaptation during the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage is just not lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
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 due to the fact “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”).
Composed with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” would be the movie that cemented its director being an international force, and it remains among the list of most influencing things he’s ever made. —CA
Produced in 1994, but taking place around the eve of Y2K, the film – set in an apocalyptic Los Angeles – is actually a clear commentary over the police assault of Rodney King, and a mirrored image about the days when the grainy tape played with a loop for white and Black audiences alike. The friction in “Bizarre Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right final decision, only to view him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
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It’s no accident that “Porco Rosso” is set at the peak in the interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed from the looming best free porn specter of fascism and a deep perception of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of fun to it realitykings — this is often a movie that feels as breezy and ecstatic as traveling a Ghibli plane through a clear summer afternoon (or at least as ecstatic since it makes that appear).
I'd 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 though it was small, and was kind of poignant for the event 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 from the whole thing and just brushed it away.
Nearly 30 years later, “Peculiar Days” is usually a challenging watch as a result of onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the alter desired. Even so, Bigelow’s alluring and visually arresting eporner film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
Most American audiences had never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters from the spring of 1999. A glorious mash-up from the pair’s long-time obsessions — everything hot schedules from cyberpunk parables to kung fu action, brain-bending philosophy to your instantly inconic impact known as “bullet time” — few aueturs have ever delivered such a vivid eyesight (times two!
Many of Almodóvar’s recurrent thematic obsessions appear here at the peak of their artistry and efficiency: surrogate mothers, distant mothers, unprepared mothers, parallel mothers, their absent male counterparts, as well as johnny sins a protagonist who ran away from the turmoil of life but who must ultimately return to face the earlier. Roth, an acclaimed Argentine actress, navigates Manuela’s grief with a brilliantly deceiving air of serenity; her character is practical but crumbles on the mere point out of her late little one, frequently submerging us in her insurmountable pain.
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His first feature straddles both worlds, exploring the conflict that he himself felt to be a young gentleman in this lightly fictionalized version of his own story. Haroun plays himself, an up-and-coming Chadian film director situated in France, who returns to his birth country to attend his mother’s funeral.
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