So how did “Ravenous” endure this tumult to become such a delectable conclusion-of-the-century treat? In a beautiful situation of life imitating artwork, the film’s cast mutinied against Raja Gosnell, leaving actor Robert Carlyle with a taste for blood and also the energy necessary to insist that Fox hire his Regular collaborator Antonia Bird to take over behind the camera.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s impact on Black cops once Russell begins resorting to murderous underworld ways. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows plus the sun, and keeps its unerring gaze focused over the intersection between noir and Blackness — is about the duality of identification more than anything else.
“Hyenas” is amongst the great adaptations with the ‘90s, a transplantation of a Swiss playwright’s post-World War II story of how a Neighborhood could fall into fascism to be a parable of globalization: like so many Western companies throughout Africa, Linguere has furnished some material comforts for the people of Colobane while ruining their financial state, shuttering their field, and making the people utterly depending on them.
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The awe-inspiring experimental film “From the East” is by and large an training in cinematic landscape painting, unfolding as a number of long takes documenting vistas across the former Soviet Union. “While there’s still time, I would like to make a grand journey across Eastern Europe,” Akerman once said from the inspiration behind the film.
The result is our humble attempt at curating the best of a decade that was bursting with new ideas, fresh Vitality, and as well many damn fine films than any top a hundred list could hope to contain.
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“Admit it isn’t all cool calculation with you – that you’ve obtained a heart – even if it’s small and feeble and you'll’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And xxxbp for all its steely violence, this film has a heart as well.
While the trio of films that comprise Krzysztof Kieślowski’s “Three Colors” are only bound together by funding, happenstance, and a standard battle for self-definition in a very chaotic present day world, there’s something quasi-sacrilegious about singling one among them out in spite with the other two — especially when that honor is bestowed upon “Blue,” the first and most severe chapter of a triptych whose final installment is usually considered the best among the equals. Each gayboystube of Kieślowski’s final three features stands together on its own, and all of them are strengthened by their shared fascination with the ironies of a Modern society whose interconnectedness was already starting to reveal its natural solipsism.
a crime anime porn drama starring Al Pacino being an undercover cop hunting down a serial killer targeting gay Males.
A moving tribute for the audacious spirit of African filmmakers — who have persevered despite an absence of infrastructure, a dearth of enthusiasm, and valuable little with the regard afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays bear his have feeling of displacement, as he’s unable to fit in or be fully understood no matter where He's. The film ends in a very chilling minute that speaks to his loneliness by relaying an easy emotional truth inside of a striking image, a signature that has led to Haroun building one of the most significant filmographies over the planet.
The ’90s began with a revolt against the kind of bland Hollywood product that people might eliminate to see in theaters today, creaking open a small window of time in which a more commercially feasible American impartial cinema began seeping into mainstream fare. Young and exciting directors, many of whom at the moment are main auteurs and perennial IndieWire favorites, were given the methods to make multiple films — some of them on massive scales.
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.
Annette Bening and Julianne Moore play the moms of two teenagers whose happy home life is thrown off-balance when their long-back nameless sperm donor crashes the party.