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The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite commonly—hiding behind a single door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night as well as the creaky house grows darker, the directors and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence proficiently, prompting us to hold our breath just like the children to avoid being found.
Underneath the cultural kitsch of all of it — the screaming teenage fans, the “king in the world” egomania, the instantly common language of “I want you to draw me like amongst your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s personal obsession with the Ship of Dreams (which he naturally cast to play itself inside of a movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between previous and present), and continues with every facet of the script that revitalizes its standard story of star-crossed lovers into something legendary.
It wasn’t a huge hit, but it was among the first significant LGBTQ movies to dive into the intricacies of lesbian romance. It was also a precursor to 2017’s
Well, despite that--this was one of my fav Korean BL shorts and I Unquestionably loved the refined and soft chemistry between the guys. They were just somehow perfect together, in a method I can not quite put my finger on.
There are profound thoughts and concepts handed out, nevertheless it's never created about the nose--it's refined enough to avoid that trap. Some scenes are just Excellent. Like the one particular in school when Yoo Han is trying to convince Yeon Woo by talking about coloration concept and showing him the colour chart.
Within the many years due to the fact, his films have never shied away from tricky subject matters, as they tackle everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” on the cruel bureaucracy facing asylum seekers in “A Period In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it is actually to cinema’s great fortune that the real Haroun didn't do the same. —LL
Iris (Kati Outinen) works a lifeless-close work in a match factory and lives with her parents — a drab existence that she tries to flee by reading romance novels and slipping out to her regional nightclub. When a man she meets there impregnates her and then tosses her aside, Iris decides to obtain her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely capable to string together an bfxxx uninspiring phrase.
That concern is key to understanding the film, whose hedonism is actually a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s path is cold and clinical, the near-continuous fucking mechanical and indiscriminate. The only time “Crash” really comes alive is within the instant between anticipating Demise and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle as a phallic symbol, its potency tied to its potential for violence, and redraws the boundaries of romance around it.
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The film ends with a haunting repetition of names, all former lovers and friends of Jarman’s who died of AIDS. This haunting elegy is meditation on sickness, silence, as well as void would be the closest film has ever come to representing Dying. —JD
Of all the things that Paul Verhoeven’s dark comedian look at the future of authoritarian porn sexy video warfare presaged, the best way that “Starship Troopers” uses its “Would you like to know more?
For such a singular artist and aesthete, Wes Anderson has always been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For proof, just look at how his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, on the delicate awe that Gustave H.
With his 3rd 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 it does to his affection for Leonard’s resource novel, Grier’s nuanced performance allows her to show off a softer side that went ass rimming and licking criminally underused during her pimp-killing heyday.
Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-in the past anonymous sperm donor crashes the party.