seven.5 Another Korean short worth a watch. However, I don't like it as much as many others do. It is good film-making, although the story just is not entertaining enough to make me fall for it as hard as many seem to have done.
“Ratcatcher” centers around a twelve-year-old boy living from the harsh slums of Glasgow, a environment frighteningly rendered by Ramsay’s stunning images that pressure your eyes to stare long and hard in the realities of poverty. The boy escapes his frustrated world by creating his have down by the canal, and his encounters with two pivotal figures (a love interest and also a friend) teach him just how beauty can exist during the harshest surroundings.
Yang’s typically set nonetheless unfussy gaze watches the events unfold across the backdrop of nineteen fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial law plus 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 1 of its dead leaders — feel countrywide in scale.
‘s Henry Golding) returns to Vietnam for your first time in many years and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually as if he’d fallen for the girl next door. That’s cinematic progress.
The movie was motivated by a true story in Iran and stars the actual family members who went through it. Mere days after the news item broke, Makhmalbaf turned her camera around the family and began to record them, directing them to reenact sure scenes based on a script. The moral queries raised by such a technique are complex.
“It don’t appear to be real… how he ain’t gonna never breathe again, ever… how he’s lifeless… plus the other a person also… all on account of pullin’ a induce.”
“He exists now only in my memory,” Rose said of Jack before sharing her story with Bill Paxton (RIP) and his crew; by the time she reached the tip of it, the late Mr. Dawson would be remembered because of the entire world. —DE
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama set during the same present in which it was shot, is enough to make the film sound like a porn movies relic of its time. Salles’ Oscar-nominated hit tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living writing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe plus a bit tactless, Montenegro’s Dora is much from a lovable maternal figure; she’s quick to judge her clients and dismisses their struggles with arrogance.
But Kon is clearly less interested during the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors result that wedges the starlet more away from herself with every subsequent trauma — real or imagined — until the imagined comes to think a reality all its possess. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen hardcore sex idol should be, offers a searing illustration of the future in which self-identification would become its individual kind of public bloodsport (even from the absence of fame and folies à deux).
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was praised by critics and received Oscar nominations for its leading ladies Cate Blanchett and Rooney Mara, so it’s not particularly underappreciated. Still, for every one of the plaudits, this lush, lovely period of time lesbian romance doesn’t obtain the credit rating it deserves for presenting grandma porn such a useless-accurate depiction with the power balance in the queer relationship between two women at wildly different stages in life, a theme revisited by Kate Winslet and Saoirse Ronan in 2020’s Ammonite.
“Saving Private Ryan” (dir. Steven Spielberg, 1998) With its bookending shots of a sun-kissed American flag billowing while in the breeze, you wouldn’t be wrong to call “Saving Private Ryan” a propaganda film. (It's possible that’s why a person particular master of controlling countrywide narratives, Xi Jinping, has said it’s one among his favorite movies.) What sets it apart from other propaganda is that it’s not really about establishing the enemy — the first half of this unofficial diptych, “Schindler’s List,” certainly did that — but establishing what America can be. Steven Spielberg and screenwriter Robert Rodat crafted a loving, if somewhat naïve, tribute to The reasoning that the U.
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