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What happens when two hustlers hit the road and amongst them suffers from narcolepsy, a rest disorder that causes him to instantly and randomly fall asleep?
To anyone common with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, not to mention the depressive anguish that compelled Shinji’s precise creator to revisit the kid’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-monitor meditation within the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
Yang’s typically preset however unfussy gaze watches the events unfold across the backdrop of fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation and the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of one of its lifeless leaders — feel countrywide in scale.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and shed themselves within the same tune that’s playing within the jukebox.
The timelessness of “Central Station,” a film that betrays Not one of the mawkishness that elevated so much with the ’90s middlebrow feel-good fare, could be owed to how deftly the script earns the bond that forms between its mismatched characters, And the way lovingly it tends towards the vulnerabilities they expose in each other. The convenience with which Dora rests her head on Josué’s lap inside a poignant scene suggests that whatever twist of fate brought this pair together under such trying circumstances was looking out for them both.
Shot in kinetic handheld from beginning to end in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a position to assist herself and her alcoholic mother.
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Sure, there’s a world of darkness waiting for them when they get there, but bang bros that’s just how it goes. There are shadows in life
Tarr has never been an overtly political filmmaker (“Politics makes everything way too basic and primitive for me,” he told IndieWire in 2019, insisting that bbc deep studying he was more interested in “social instability” and “poor jockbreeders muscular hunk dustin tyler breeds twink bottom people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is inside the thrall of another authoritarian leader displays both the recursive arc of recent history, as well as the full power of Tarr’s sinister parable.
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Tailored from the László Krasznahorkai novel from the same name and maintaining the book’s dance-encouraged chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a man named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey within the desolation he finds Amongst the desperate and easily manipulated townsfolk.
The mystery of Carol’s sickness might be best understood as Haynes’ damplip response into the AIDS crisis in America, given that the movie is ready in 1987, a time from the epidemic’s top. But “Safe” is more than a chilling allegory; Haynes interviewed a variety of women with environmental sicknesses while researching his film, plus the finished product or service vividly indicates ullu web series video that he didn’t arrive at any pat options to their problems (or even for their causes).
And nevertheless, upon meeting a stubborn young boy whose mother has just died, our heroine can’t help but soften up and offer poor Josué (Vinícius de Oliveira) some help. The kid is quick to offer his very own judgments in return, as his gendered assumptions feed into the combative dynamic that flares up between these two strangers as they travel across Brazil in search of your boy’s father.
Established in the present working day with a Daring retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to a rehab for gay and lesbian teens. The patients don pink and blue pastels while performing straight-intercourse simulations under the tutelage of an exacting taskmaster (Cathy Moriarty).