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The film is framed since the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality via the great Denis Lavant). Loosely depending on Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use from 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 routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing inside the desert with their arms while in the air and their eyes closed like communing with a higher power, or repeatedly smashing their bodies against one another within a series of violent embraces.
About the international scene, the Iranian New Wave sparked a class of self-reflexive filmmakers who observed new levels of meaning in what movies could be, Hong Kong cinema was climaxing as being the clock on British rule ticked down, a trio of significant administrators forever redefined Taiwan’s place in the film world, while a rascally duo of Danish auteurs began to impose a fresh Dogme about how things should be done.
This clever and hilarious coming of age film stars Beanie Feldstein and Kaitlyn Dever as two teenage best friends who plan to go to 1 last party now that high school is over. Dever's character has one of many realest young lesbian stories you will see inside of a movie.
‘s Henry Golding) returns to Vietnam for that first time in decades and gets involved with a handsome American ex-pat, this 2019 film treats the romance as casually as if he’d fallen for the girl next door. That’s cinematic progress.
Back in 1992, however, Herzog experienced less cozy associations. His sparsely narrated 50-moment documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, far removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism into the catastrophe. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such wide nightmare landscapes that it makes their prayers feel like they are being answered via the Devil instead.
“Rumble during the Bronx” can be established in New York (although hilariously shot in Vancouver), but this Golden Harvest production is Hong Kong for the bone, and also the 10 years’s single giddiest display of why Jackie Chan deserves his Recurrent comparisons to Buster Keaton. While the story is whatever — Chan plays a Hong Kong cop who comes to the Big Apple for his uncle’s wedding and soon finds himself embroiled in some mob drama about stolen diamonds — the charisma is off the charts, the jokes connect with the power of spinning windmill kicks, and the Looney Tunes-like action sequences are more stunning than just about anything that had ever been shot on these shores.
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The relentless nihilism of Mike Leigh’s “Naked” can be a hard pill to swallow. Well, less a pill than a glass of acid with xxlayna marie in pure lust rusty blades for ice cubes. David Thewlis, within a breakthrough performance, is with a dark night on the soul en path to the tip of the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on the best way there, his cattle prod of a film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in a dank Manchester alley before he’s chased off by her family and flees into a crummy corner of east London.
Nearly thirty years later, “Peculiar Days” is usually a hard watch a result of the onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage rarely enacts the change desired. Even so, Bigelow’s alluring and visually arresting film continues to enrapture because it so perfectly captures the misplaced hope of its time. —RD
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Gus Van Sant’s gloriously unfortunate road movie borrows from the worlds of writer John top porn sites Rechy and even the director’s personal “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark inside the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a reason to swoon over their indie heartthrob status.
The ’90s began with a jav guru revolt against the kind of bland Hollywood product or service that people might destroy outdoor sex to see in theaters today, creaking open a small window of time in which a more commercially feasible American independent cinema began seeping into mainstream fare. Young and exciting directors, many of whom are now key auteurs and perennial IndieWire favorites, were given the methods to make multiple films — some of them on massive scales.
This film follows two teen boys, Jia-han and Birdy as they fall in love within the 1980's just after Taiwan lifted its martial regulation. As the country transitions from stringent authoritarianism to become the most LGBTQ+ friendly country in Asia, the two boys grow and have their love tested.
We asked to the movies that experienced them at “hello,” the esoteric picks they’ve never neglected, the Hollywood monoliths, the international gems, the documentaries that captured time inside a bottle, plus the kind of blockbusters they just don’t make anymore.