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The Altman-esque ensemble method of creating a story around a particular event (in this case, the last working day of high school) had been done before, but not quite like this. There was a great deal of ’70s nostalgia within the ’90s, but Linklater’s “Slacker” followup is more than just a stylistic homage; the big cast of characters are made to feel so acquainted that audiences are essentially just hanging out with them for one hundred minutes.
But this drama has even more than the exceptionally unique story that it is actually on the surface. Set these guys and the way in which they experience their world and each other, inside a deeper context.
“The top of Evangelion” was ultimately not the tip of “Evangelion” (not even close), but that’s only because it allowed the collection and its writer to zoom out and out and out until they could each see themselves starting over. —DE
The emotions linked with the passage of time is a big thing for the director, and with this film he was in a position to do in one night what he does with the sprawling temporal canvas of “Boyhood” or “Before” trilogy, as he captures many feelings at once: what it means to be a freshman kissing a cool older girl since the Solar rises, the perception of being a senior staring at the conclusion of the party, and why the tip of 1 big life stage can feel so aimless and Bizarre. —CO
Dash’s elemental direction, the non-linear composition of her narrative, as well as sensuous pull of Arthur Jafa’s cinematography Blend to create a rare film of raw beauty — one particular that didn’t ascribe to Hollywood’s notion of Black people or their cinema.
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A cacophonously intimate character study about a woman named Julie (a 29-year-previous Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for any trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of a film camera) can make it appear to be.
If we confess our sins, He's faithful and just and will forgive us our sins and purify us from all unrighteousness.
A poor, overlooked movie obsessive who indianporngirl only feels seen by the neo-realism of his country’s countrywide cinema pretends to become his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films had allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home with the affluent Iranian family where he “wanted to shoot his next film” — Sabzian arouses the interest of a (very) different neighborhood auteur who’s fascinated by his story, by its inherently cinematic deception, and with the counter-intuitive likelihood that it presents: If Abbas Kiarostami staged a documentary xxxxporn around this gentleman’s fraud, he could properly cast Sabzian as the lead character on the movie that Sabzian had always wanted someone to make about his suffering.
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In “Unusual Days,” the love-Ill grifter Lenny Nero (Ralph Fiennes), who sells people’s memories for bio-VR escapism over the blackmarket, becomes embroiled in an unlimited conspiracy when among his clients captures footage of a heinous crime – the murder of the Black political hip hop artist.
I haven't acquired the slightest clue how people can rate this so high, because this just isn't good. It's acceptable, but far from the quality it could seem to have if a person trusts the score.
Time seems to have stood still in this place with its black-and-white Television established and rotary phone, a couple of lonely pumpjacks groaning outside offering the only sound or movement for miles. (A “Make America Great Again” sticker within the back milffox of the valentina nappi conquer-up car or truck is vaguely amusing but seems gratuitous, and it shakes us from the film’s foggy mood.)