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The film is framed as the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mixture of cruel reserve and vigorous physicality by the great Denis Lavant). Loosely according to Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use on the Benjamin Britten opera that was likewise motivated by Melville’s work, as excerpts from Britten’s opus take with a haunting, nightmarish quality as they’re played over the unsparing training physical exercises to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing during the desert with their arms inside the air and their eyes closed like communing with a higher power, or frequently smashing their bodies against one another in a number of violent embraces.

, on the list of most beloved films from the ’80s and also a Steven Spielberg drama, has lots going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-winning supply material as well as a timeless theme of love (in this situation, between two women) as a haven from trauma.

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Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated 1950s Connecticut in “Significantly from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.” 

The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gentle stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.

Montenegro became the first — and still only — Brazilian actor to get nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching still never saccharine, Salles’ breakthrough ends with a fitting testament to the idea that some memories never fade, even as our indifferent world continues to spin forward. —CA

The movie is often a silent meditation about the loneliness of being gay within a repressed, rural society that, however not as high-profile as Brokeback Mountain,

Critics praise the movie’s Uncooked and honest depiction of your AIDS crisis, citing it as on the list of first films to give a candid take on the issue.

Tarr has never been an overtly political filmmaker (“Politics makes everything as well simple and primitive worshipped brunette kristina bell gets access to a penis for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is during the thrall of another authoritarian leader demonstrates both the recursive arc indianporngirl of latest history, as well as the full power of Tarr’s sinister parable.

Along with the uncomfortable truth behind the results of “Schindler’s List” — as both a movie and being an iconic representation from the Shoah — is that it’s every inch as entertaining as the likes of “E.T.” or “Raiders with the Lost pornp Ark,” even despite the solemnity of its subject matter. It’s similarly rewatchable as well, in parts, which this critic has struggled with Because the film became a regular fixture on cable Tv set. It finds Spielberg at the absolute top of his powers; the slow-boiling denialism from the story’s first half makes “Jaws” feel like every day at the beach, the “Liquidation from the Ghetto” pulses with a fluidity that places any of the director’s previous setpieces to shame, and characters like Ben Kingsley’s Itzhak Stern and Ralph Fiennes’ Amon Göth allow for the type of emotional swings that less genocidal melodramas could never hope to afford.

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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 evidence, just look at just how his characters worship each other in order to find themselves — from Ned Plimpton’s british porn childhood obsession with Steve Zissou, to the delicate awe that Gustave H.

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The actual fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show Me Love” for realitykings its U.S. release is really a perfect testament to some portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.