The film is framed as the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality from the great Denis Lavant). Loosely determined by Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise encouraged by Melville’s work, as excerpts from Britten’s opus take on the haunting, nightmarish quality as they’re played over the unsparing training workout routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing during the desert with their arms from the air and their eyes closed just as if communing with a higher power, or regularly smashing their bodies against one another inside a number of violent embraces.
, one of several most beloved films with the ’80s and a Steven Spielberg drama, has a great deal going for it: a stellar cast, including Oscar nominees Whoopi Goldberg and Oprah Winfrey, Pulitzer Prize-winning source material and also a timeless theme of love (in this situation, between two women) as a haven from trauma.
Considering the plethora of podcasts that encourage us to welcome brutal murderers into our earbuds each week (And exactly how eager many of us are to do so), it may be hard to assume a time when serial killers were a truly taboo subject. In many ways, we have “The Silence in the Lambs” to thank for that paradigm change. Jonathan Demme’s film did as much to humanize depraved criminals as any bit of contemporary art, thanks in large part to a chillingly magnetic performance from Anthony Hopkins.
, John Madden’s “Shakespeare in Love” is often a lightning-in-a-bottle romantic comedy sparked by one of several most assured Hollywood screenplays of its 10 years, and galvanized by an ensemble cast full of people at the peak of their powers. It’s also, famously, the movie that beat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as one of several most underhanded power mongers the film business experienced ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work of the devil.
This drama explores the inner and outer lives of various LGBTQ characters dealing with repression, melancholy and hopelessness across centuries.
For all of its sensorial timelessness, “The Girl within the Bridge” might be far too drunk on its own fantasies — male or otherwise — to shimmer as strongly today because it did during the summer of gay sex videos 1999, but Leconte’s faith inside the ecstasy of filmmaking lingers all the same (see: the orgasmic rehearsal sequence set to Marianne Faithfull’s “Who Will Take My Dreams Away,” evidence that all you need to make a movie can be a girl and also a knife).
When it premiered at Cannes in porntrex 1998, the film made with a $700 just one-chip DV camera sent shockwaves through the film world — lighting a fire under the digital narrative movement in the U.S. — while in the same time making director Thomas Vinterberg and his compatriot Lars Van Trier’s scribbled-in-forty five-minutes Dogme 95 manifesto into the start of the technologically-fueled film movement to drop artifice for art that set the tone for twenty years of small budget (and some not-so-lower funds) filmmaking.
A profoundly soulful plea for peace in the guise of simple family fare, “The Iron Giant” continues to stand tall as among the best and most philosophically innovative American animated films ever made. Despite, or perhaps because in the movie’s power, its release was bungled from the start. Warner Bros.
Nearly thirty years later, “Peculiar Days” is a challenging watch due to onscreen brutality against Black folks and women, and because through today’s cynical eyes we know such footage porn website rarely enacts the transform 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
a crime drama starring Al Pacino being an undercover cop hunting down a serial killer targeting gay Males.
Of lesbian porn each of the things that Paul Verhoeven’s dark comedian look for the future of authoritarian warfare presaged, the way that “Starship Troopers” uses its “Would you like to know more?
There’s a purity for the poetic realism best porn sites of Moodysson’s filmmaking, which often ignores the lower-spending budget constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral consolation for his young cast and also the lives they so naturally inhabit for Moodysson’s camera. —CO
And but, on 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 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 in the boy’s father.
is maybe the first feature film with fully rounded female characters that are attracted to each other without that attraction being contested by a male.” In line with Curve