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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the tip,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.
“Eyes Wide Shut” may not seem to be as epochal or predictive as some from the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more precise sense of what it would feel like to live inside the twenty first century. In the word: “Fuck.” —DE
It’s taken many years, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central towards the story. When an Anglo-Asian man (
It doesn’t get more romantic than first love in picturesque Lombardo, Italy. Throw in an Oscar-nominated Timothée Chalamet being a gay teenager falling hard for Armie Hammer’s doctoral student, a dalliance with forbidden fruit and in A significant supporting role, a peach, therefore you’ve acquired amore
The story of the son confronting the family’s patriarch at his birthday gathering about the horrors on the previous, the film chronicles the collapse of that family under the weight from the buried truth being pulled up via the roots. Vintenberg uses the camera’s incapacity to handle the natural small light, and also the subsequent breaking up in the grainy image, to perfectly match the disintegration on the family over the course of the working day turning to night.
The best with the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two recent grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (read through by Giovanni Ribisi), the film peers into the lives with the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized via the willowy young women — particularly Lux (Kirsten Dunst), the household coquette — the youoorn young gents study and surveil them with a way of longing that is by turns amorous and meditative.
A cacophonously intimate character study about a woman named Julie potno (a 29-year-old Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her decline by dissociating from the life she once femdom shared with them — “Blue” devastatingly sets the tone for your trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The reasoning that life is ever as understandable as human subjectivity (or that of the film camera) can make it feel.
They’re looking for love and sex inside the last days of disco, with the start in the ’80s, and have to swat away plenty of Stillmanian assholes, like Chris Eigeman like a drug-addicted club manager who pretends to get gay to dump women without guilt.
“After Life” never describes itself — Quite the opposite, it’s presented with the boring matter-of-factness of another Monday morning at the office. Somewhere, in the quiet limbo between this world and also the next, there can be a spare but tranquil facility where the lifeless are interviewed about their lives.
Al Pacino portrays a neophyte crook who robs a lender in order to raise money for his lover’s gender-reassignment surgical treatment. Based upon a true story and nominated for 6 Oscars (including Best vr porn Actor for pornhub c Pacino),
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” Meanwhile, pint-sized Natalie Portman sells us on her homicidal Lolita by playing Mathilda like a girl who’s so precocious that she belittles her own grief. Danny Aiello is deeply endearing as the old school mafioso who looks after Léon, and Gary Oldman’s performance as drug-addicted DEA agent Norman Stansfield is so big that you'll be able to actually see it from space. Who’s great in this movie? EEVVVVERRRRYYYOOOOONEEEEE!