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When “Schindler’s List” was released in December 1993, triggering a discourse One of the Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the frequent wisdom that Spielberg’s masterpiece would forever change how people think with the Holocaust.
Wisely realizing that, despite the hundreds of years between them, Jane Austen similarly held great respect for “women’s lives” and managed to craft stories about them that were silly, frothy, funny, and very relatable.
The cleverly deceitful marketing campaign that turned co-administrators 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”).
In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy like a cirrus cloud.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for a lack of ideas. But in Zhang Yimou’s “Raise the Crimson Lantern,” the utter decadence of the imagery is simply a delicious added layer to a beautifully created, exquisitely performed and utterly thrilling bit of work.
During the decades given that, 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,” into the cruel bureaucracy facing asylum seekers in “A Time In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it really is to cinema’s great fortune that the real Haroun didn't do the same. —LL
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Besson succeeds when he’s pushing everything just a tad too far, and Reno’s lovable turn inside the title role helps cement the movie being an city fairytale. A lonely hitman with a heart of gold and a soft spot for “Singin’ while in the Rain,” Léon is perhaps the purest movie simpleton to come out in the ten years that created amature porn “Forrest Gump.
“Souls don’t die,” repeats the large title character of this gloriously hand-drawn animated sci-fi tale, as he —not it
S. soldiers eating each other in a remote Sierra Nevada romance sex video outpost during the Mexican-American War, as well as the last time that a Fox 2000 executive would roll approximately a set three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired for the work with the director of “Home Alone three.”
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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 series of polite interrogations, his camera watching observantly as more than a half-dozen characters make an effort to distill themselves into just one perfect instant. The episodes they ultimately choose are wistful and wise, each moving in its very own way.
His first feature straddles both worlds, exploring the conflict that he himself felt like a young person in this lightly fictionalized version of his very own asianporn story. Haroun plays himself, an up-and-coming Chadian film director located in France, who returns to his birth country to attend his mother’s funeral.
Leigh unceremoniously cuts between The 2 narratives until they eventually collide, but “Naked” doesn’t betray any trace of schematic plotting. Quite the opposite, Leigh’s apocalyptic eyesight of a kitchen-sink drama vibrates with jangly vérité spirit, while Thewlis’ performance is so committed to writhing in its personal filth that it’s easy to forget this is a scripted work of fiction, anchored by an actor who would go on to star in the “Harry Potter” wowuncut movies instead than a pathological nihilist who wound up useless or in prison shortly after the cameras started rolling.