The best Side of girl and her cousin
The best Side of girl and her cousin
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To best seize the full breadth, depth, and general radical-ness of ’90s cinema (“radical” in both the political and Teenage Mutant Ninja Turtles senses on the word), IndieWire polled its staff and most Recurrent contributors for their favorite films with the decade.
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A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of identity and free will themselves are called into question.
Charbonier and Powell accomplish a good deal with a little, making the most of their small spending plan and single place and exploring every sq. foot of it for maximum tension. They establish a foreboding temper early, and successfully tell us just enough about these kids and their friendship to make the best way they fight for each other feel not just plausible but substantial.
A sweeping adventure about a 14th century ironmonger, the animal gods who live while in the forest she clearcuts to mine for ore, plus the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen being a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
For all of its sensorial timelessness, “The Girl about the Bridge” can be too drunk on its own fantasies — male or otherwise — to shimmer as strongly today because it did in the summer of 1999, but Leconte’s faith while in the ecstasy of filmmaking lingers the many same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie is really a girl and also a knife).
did for taxi 69 feminists—without the car going off the cliff.” In other words, set the Kleenex away and just enjoy love mainly because it blooms onscreen.
A cacophonously intimate character study about a woman named Julie (a 29-year-previous Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her decline by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The live porn theory that life is ever as understandable as human subjectivity (or that of the film camera) can make it seem.
Jane Campion doesn’t put much stock in labels — seemingly preferring to adhere into the aged Groucho alexis texas Marx chestnut, “I don’t want to belong to any club that will settle for people like me as a member” — and has invested her career pursuing work that speaks to her sensibilities. Ask Campion for her personal views of feminism, and you simply’re likely to receive a solution like the a single she gave fellow filmmaker Katherine Dieckmann within a chat for Interview Magazine back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t belong to any clubs, And that i dislike club mentality of any kind, even feminism—although I do relate on the purpose and point of feminism.”
this fantastical take on Elton John’s story doesn’t straight-wash its subject’s sex life. Pair it with 1998’s Velvet Goldmine
Even better. A testament on the power of huge ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to utilize it to perform nothing less than save the entire world with it.
There’s a purity towards the poetic realism of Moodysson’s filmmaking, which generally ignores the minimal-spending plan roxie sinner constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral convenience for his young cast and the lives they so naturally inhabit for Moodysson’s camera. —CO
There are manic pixie dream girls, and there are manic pixie dream girls. And then — one,000 miles further than the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis for a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertisementèle who throws herself into the Seine at the start of Patrice Leconte’s romantic, intoxicating “The Girl around the Bridge,” only to become youjiz plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a whole new ingenue to play the human target in his traveling circus act.
Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-ago nameless sperm donor crashes the party.