The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite frequently—hiding behind 1 door or another as he skulks about, trying to find his friend while outwitting his captors. As working day turns to night and the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence effectively, prompting us to hold our breath just like the children to avoid being found.
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Yang’s typically fixed still unfussy gaze watches the events unfold across the backdrop of nineteen fifties and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation along with 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 1 of its useless leaders — feel countrywide in scale.
There will be the solution of bloody satisfaction that Eastwood takes. As this country, in its endless foreign adventurism, has so many times in ostensibly defending democracy.
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
The best from the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two latest grads working as junior associates in a publishing house (how romantic to think that was ever seen as such an aspirational career).
the 1994 film that was primarily a showcase for Tom Hanks as a man dying of AIDS, this Australian drama isn’t about just one gentleman’s burden. It focuses about the physical and psychological havoc AIDS wreaks with a couple in different stages in the disease.
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But Kon is clearly less interested from the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors outcome that wedges the starlet more away from herself with every subsequent trauma — real or imagined — until the imagined comes to believe a reality all its own. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-id would become its individual kind of public bloodsport (even while in the absence of fame and folies à deux).
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Tailored from the László Krasznahorkai novel of 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 the xx videos farming collective target baby registry 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 around the desolation he finds Among the many desperate and easily manipulated townsfolk.
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His first feature straddles both worlds, exploring the conflict that he himself felt like a young guy in this lightly fictionalized version of his possess story. Haroun plays himself, an up-and-coming Chadian film director based in France, who returns to his birth country to attend his mother’s funeral.
—stares into the infinite night sky pondering his identification. That we will empathize with his existential realization is testament on the animators and character design team’s finesse in imbuing the gentle metal giant with an endearing warmth despite his imposing size and weaponized configuration.