If anything, Hoberman’s comment underestimated the seismic impact that “Schindler’s List” would have on the public imagination. Even for the youngsters and grandchildren of survivors — raised into awareness but starved for understanding — Spielberg’s popcorn version with the Shoah arrived with the power to carry out for concentration camps what “Jurassic Park” experienced done for dinosaurs earlier the same year: It exhumed an unfathomable period of history into a blockbuster spectacle so watchable and well-engineered that it could shrink the legacy of the entire epoch into a single eyesight, in this case potentially diminishing generations of deeply personal stories along with it.
The tale centers on twin twelve-year-aged girls, Zahra and Massoumeh, who have been cloistered inside for nearly their entire lives. Their mother is blind and their father, concerned for his daughters’ safety and lack of innocence, refuses to let them over and above the padlock of their front gate, even for proper bathing or schooling.
star Christopher Plummer won an Oscar for his performance in this moving drama about a widowed father who finds love again after coming out in his 70s.
Charbonier and Powell accomplish lots with a little, making the most of their very low spending plan and single place and exploring every square foot of it for maximum tension. They establish a foreboding mood early, and competently tell us just enough about these kids and their friendship to make just how they fight for each other feel not just believable but substantial.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for an absence of ideas. But in Zhang Yimou’s “Raise the Pink Lantern,” the utter decadence with the imagery is actually a delicious additional layer to the beautifully prepared, exquisitely performed and utterly thrilling piece of work.
Duqenne’s fiercely identified performance drives every frame, as being the restless young Rosetta takes on challenges that not one person — let alone a youngster — should ever have to face, such as securing her next meal or making sure that she and her mother have functioning water. Eventually, her learned mistrust of other people leads her to betray the a person friend she has in order to badwap steal his position. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded from her; the film opens as she’s being fired from a factory career from which she needs to be dragged out kicking and screaming, and it ends with her in much the same state.
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Set in Calvinist small town atop the Scottish Highlands, it's the first part of Von Trier’s “Golden Heart” trilogy as Watson xlxx plays a woman who has sex with other men to please her husband after a mishap has left him immobile. —
Tarr has never been an overtly political filmmaker (“Politics makes everything far too straightforward and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is within the thrall of another authoritarian leader reflects both the recursive arc of modern history, as well as full power of Tarr’s sinister parable.
None of this would have been possible Otherwise for Jim Carrey’s career-defining performance. No other actor could have captured the blend of Pleasure and darkness that made Truman Burbank so captivating to both the fictional viewers watching his show as well as the moviegoers in 1998.
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You might love it with the whip-sensible screenplay, which received Callie Khouri an Academy Award. Or perhaps for the chemistry between its two leads, because pornhubs Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
The film that follows spans the story of that summer, during which Eve comes of age through a number of brutal lessons that force her to confront the fact that her family — and her broader Group outside of them — are usually not who childish folly experienced led her to believe. Lemmons’ grounds “Eve’s Bayou” in Creole history, mythology and magic all while assembling an astonishing group of Black actresses including Lynn Whitfield, Debbi Morgan, along with the late-great Diahann Carroll to assoass make a cinematic matriarchy that holds righteous judgement over the weakness of Adult males, that are in turn are still performed with enthralling complexity through the likes of Samuel L.
From that rich premise, “Walking and Talking” churns into a characteristically small-key but razor-sharp drama about the complexity of women’s interior lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.