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“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who will be fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s efficiently cast himself as the hero and narrator of the non-existent cop show in order to give voice for the things he can’t confess. There’s Jimmy Gator, the dying game show host who’s haunted by the many ways he’s failed his daughter (he’s played with the late Philip Baker Hall in one of many most affectingly human performances you’ll ever see).
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Some are inspiring and believed-provoking, others are romantic, funny and just plain enjoyment. But they all have one particular thing in frequent: You shouldn’t miss them.
This sequel for the classic "we are classified as the weirdos mister" 90's movie just came out and this time, on the list of witches is often a trans girl of shade, played by Zoey Luna. While the film doesn't live up to its predecessor, it has some enjoyment scenes and spooky surprises.
A sweeping adventure about a 14th century ironmonger, the animal gods who live from 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 as 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 on the Bridge” could possibly be much too drunk on its own fantasies — male or otherwise — to shimmer as strongly today mainly because it did in the summer of 1999, but Leconte’s faith in the ecstasy of filmmaking lingers each of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie is actually a girl and also a knife).
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock gain over his crush. Things get complicated, although, pormo when she develops feelings with the same girl. Charming and real, it will end up on your list of favorite Netflix romantic movies in no time.
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it had been shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated strike tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living crafting luxure tv letters for illiterate working-class people who pornhub premium transit a busy Rio de Janeiro train station. Severe in addition to a bit tactless, Montenegro’s Dora is way from a lovable maternal figure; she’s quick to guage her clients and dismisses their struggles with arrogance.
As authoritarian tendencies are seeping into politics on a world scale, “Starship Troopers” paints shiny, ugly insect-infused allegories from the dangers of blind adherence and also the power in targeting an easy enemy.
Emir Kusturica’s characteristic exuberance and frenetic pacing — which typically feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Power spilling across the tortured spirit of his beloved Yugoslavia given that the country experienced through an extended duration of disintegration.
Tailored from the László Krasznahorkai novel with the same name and maintaining the book’s dance-inspired chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey around the desolation he finds Amongst the desperate and easily manipulated townsfolk.
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 the faketaxi way in which his characters worship each other in order to find themselves — from Ned Plimpton’s childhood bisexual porn obsession with Steve Zissou, into the moderate awe that Gustave H.
This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
The crisis of id with the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Get rid of” addresses an essential truth about Japanese Modern society, where “the nail that sticks up gets pounded down.” Although the provocative existential query at the core with the film — without your occupation and your family and your place during the world, who do you think you're really?