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“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld tactics. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows plus the Sunshine, and keeps its unerring gaze focused around the intersection between noir and Blackness — is about the duality of identification more than anything else.
More than anything, what defined the ten years was not just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors to the endless possibilities of cinematic storytelling. Directors like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their have terms, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, along with the movies are all the better for that.
Composed with an intoxicating candor for sorrow and humor, from The instant it begins to its heart-rending resolution, “All About My Mother” is definitely the movie that cemented its director as an international power, and it remains one of many most influencing things he’s ever made. —CA
The emotions associated with the passage of time is a major thing with the director, and with this film he was capable to do in a single night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means being a freshman kissing a cool older girl since the Sunlight rises, the perception of being a senior staring at the end of the party, and why the top of one big life stage can feel so aimless and Odd. —CO
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are a few of the images that linger after you arise from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.
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Critics praise the movie’s raw and honest depiction with the AIDS crisis, citing it as one of many first films to amateur knob sucking before anal for homosexual lovers give a candid take on The difficulty.
As with all of Lynch’s work, the progression on the director’s pet themes and aesthetic obsessions is clear in “Lost Highway.” The film’s pink twinks gay tube movies and wearing strapon first discombobulating Möbius strip construction builds around the dimension-hopping time loops of “Twin Peaks: Fire Walk With Me,” while its descent into L.
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Making the most of his background to be a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a number of polite interrogations, his camera watching observantly as more than a half-dozen characters try to distill themselves into 1 perfect instant. The episodes they ultimately choose are wistful and wise, each moving in its individual way.
is full of beautiful shots, powerful performances, and sizzling sexual intercourse scenes set in Korea inside the first half in the 20th century.
The crisis of identification within the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Treatment” addresses an essential truth about Japanese society, where “the nail that sticks up gets pounded down.” Though the provocative melons tube existential concern hardcore sex on the core of your film — without your task and your family and your place within the world, who have you been really?