The delightfully deadpan heroine at the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his very own novel of the same name, could be compared to Amélie on Xanax. Her day-to-day life is filled with chance interactions as well as a fascination with strangers, nevertheless, at 27, she’s more concerned with trying to vary her possess circumstances than with facilitating random functions of kindness for others.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s effect on Black cops once Russell begins resorting to murderous underworld strategies. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows and also the sun, and keeps its unerring gaze focused to the intersection between noir and Blackness — is about the duality of identity more than anything else.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath on the girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other kids with the first time.
Like Bennett Miller’s just one-man or woman doc “The Cruise,” Vintenberg’s film showed how the textured look of the cheap DV camera could be used expressively while in the spirit of 16mm films in the ’60s and ’70s. Above all else, even though, “The Celebration” is undoubtedly an incredibly powerful story, well told, and fueled by youthful cinematic energy. —
It’s now The style for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL
Montenegro became the first — and still only — Brazilian actor for being nominated for an Academy Award, and Salles’ two-hander reaches the sublime because de Oliveira, at his young age, summoned a powerful concoction of mixed emotions. Profoundly touching yet never saccharine, Salles’ breakthrough ends with a fitting testament to the idea that some memories never fade, even as our indifferent world continues to spin forward. —CA
“He exists now only in my memory,” Rose said of Jack before sharing her story with Bill Paxton (RIP) and his crew; because of the time she reached the end of it, the late Mr. Dawson would be remembered via the entire world. —DE
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These days, it may be hard to transgender porn different Werner Herzog from the meme-driven caricature that he’s cultivated Considering that the success of “Grizzly Person” — his deadpan voice, his love of Baby Yoda, his droll insistence that a chicken’s eyes betray “a bottomless stupidity, a fiendish stupidity… that they tend to be the most horrifying, cannibalistic, and nightmarish creatures during the world.
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The magic of Leconte’s monochromatic fairy tale, a Fellini-esque throwback that fizzes along the Mediterranean coast with the madcap Electrical power of the “Lupin the III” episode, begins with the fact that Gabor doesn’t even consider (the current flimsiness of his knife-throwing act indicates an impotence of a different kind).
Despite criticism for its fictionalized account of Wegener’s story and the casting of cisgender actor Eddie Redmayne within the title role, the film was a crowd-pleaser that performed well for the box office.
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centers around a gay Manhattan couple coping with massive life adjustments. Certainly one of them prepares to leave for your long-expression work assignment abroad, as well as the other tries to navigate his feelings to get a former lover that is living with AIDS.