Withstanding the procession of Vitalina Varela’s suffering requires patience and endurance, but maybe the way Costa and Varela explore grief’s every nook and cranny will yield unexpected relief from our own. Fans telling Monty Oum that he needs to get some sleep. One of the defining films of the Left Bank branch of the French New Wave (as opposed to those of the “Right Bank,” the more famous films of Truffaut and Godard, the movement’s more commercial, cosmopolitan cinephiles), Cléo from 5 to 7 is a fever dream of the ordinary, a meditation on the nothingness of everyday living, as existential as it is blissfully bereft of purpose. Accordingly, The Wolf House can feel sickening at points, mostly due to the ever-morphing vessels that serve as avatars for María, Pedro and Ana. In this volume of 15 articles, contributors from a wide range of disciplines present their analyses of Disney movies and Disney music, which are mainstays of popular culture. Battling the complex forces of power, desire, and obligation, follow along as the trio work together to try and change the course of history. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. Made six years after France transferred power, Black Girl, Sembène’s first feature-length film as writer and director (based off of his own short story), aches with wounds still lifetimes away from healing, worsened by the shallowness of a people (French) who just want to move on and with the humiliation and resentment of a lot more people (Africans) who physically live everyday—in their language and social structures and economic lots—surrounded by the reminders that they for so long were not their own. Naturally, a common joke about Cinder "cutting down the competition" was born. Queer Cinema: The Film Reader It’s certainly one of a handful of quintessential American films. The silhouette format naturally limited what could be communicated via facial details and the like, but that didn’t stop Reiniger from using her careful craftsmanship and design skills to create emotionally expressive body language. The characters move with their own unique rhythms, taking on an otherworldly feel. With in-depth features, Expatica brings the international community closer together. Persona doesn’t reveal its meaning easily, and it’s open to a number of interpretations. Some people have taken Beehaw to strange extremes, editing Yang's face onto a horse or making fanart of her as a centaur. Surrounding the main storyline are myriad vignettes, mostly unconnected in character and setting, depicting the many ways (sometimes subtle but usually not) the consumption of food is inescapably intertwined with all aspects of our lives. Wong experiments with motion to make everyday life seem extraordinary.—Max Covill, Year: 2012 Director: Noah Baumbach Stars: Greta Gerwig, Mickey Sumner, Michael Zegen, Adam Driver Runtime: 85 minutes, In a single gesture from actor/writer/Baumbachian collaborator Greta Gerwig, there is an entire universe. Instead we’re in 1990’s Hong Kong, though Wong Kar-Wai is less an existential master than a Hemingway or Gertrude Stein. Chaplin took all the motifs he could find from adventure novels, melodramas and other stories of the northern frontier, tossed them in a blender and served up a collection of what would become his most famous scenes. But now the future’s a part of the present.” So says the Writer (Anatoli Solonitsyn) in Andrei Tarkovsky’s Stalker, somewhere deep in the Zone, contemplating the deeper trenches of his subconscious, of his fears and life and whatever “filth” exists within him. Make no mistake, this is an uproarious comedy and a towering work of cinema, but it’s Tati’s embedded sense of loss that echoes the loudest. —Tim Grierson, Year: 1963 Director: Luis García Berlanga Stars: Nino Manfredi, Emma Penella, José Isbert Runtime: 91 minutes, It’s a tough life being an undertaker and a tougher life being a garrotter, which just adds to the layers of political commentary in Luis García Berlanga’s The Executioner. It’s an ancient story and Camus does a marvelous job of making it new and fresh in its recontextualization. It even extends to other characters on occasion. If 25 years ago Fire Walk with Me bore a reputation for unnecessary brutality, nihilism even—booed at its Cannes premiere and a box office failure—today its brutality seems more necessary than ever, the depths of its bleakness matched only by just how deeply felt Lynch’s characters develop on screen. A history of images in motion that explores the"special effect" of cinema. Where does a movie like Fantastic Planet come from? Naturally, it's well-remembered for its utter ridiculousness. In his later years, Charlie Chaplin was known for bringing pathos into his comedy whenever he had the opportunity. Their corporeal forms emerge crudely shaped from clay, ooze onto the walls and windows as painted figures, grow bloated and disjointed as paper-mache, stitched together and dressed with felt and plush. As usual with her films, Certain Women is so delicately but smartly constructed that ecstatic reviews may give people the wrong idea about its greatness. Based on the James Vance Marshall book of the same name, Edward Bond’s original screenplay totaled 14 pages (barely enough for a short film). The only film in the trilogy not directed by Tezuka (he left the project in its conceptual stages), Eiichi Yamamoto’s Belladonna of Sadness is amongst the most unusual animated films ever put to celluloid. Of course, the government has set up cordons around the Zone, and entry is strictly prohibited. It is the story of Winslow Houndstooth and his crew. It is the story of their fortunes. It is the story of his revenge. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied. Yasujiro Ozu, Agnés Varda, Chantal Akerman, Akira Kurosawa, Satyajit Ray, Federico Fellini, Charlie Chaplin—basically, if they turn up in a History of Film textbook, it’s more than likely you’ll find a way into their work here. Based very loosely on Roadside Picnic, a novel by brothers Boris and Arkady Strugatsky (who also wrote the screenplay), Stalker imagines a dystopic future not far from our present—or Tarkovsky’s present, before the fall of the Berlin Wall or the devastation of Chernobyl—in which some sort of otherworldly force has deposited a place humans have called “the Zone” onto Earth. When we engage with art, Kiarostami asks—truly relate to it—aren’t we making it a part of ourselves? “Is it so cruelly inconceivable to grasp God with the senses?” asks knight Antonius Block (von Sydow). Even when Kurosawa generously reveals what actually happened when the bandit crossed paths with the samurai and his wife via the post-trial testimony of a humble woodcutter, we’re still left to wrestle with the question of who, and what, we should believe. Dreyer’s silent masterpiece, seemingly suspended over the long course of history between now (whenever now happens to be) and when Dreyer first envisioned this immersive, expressionist experience. Suddenly, the real world feels too loud. Kiefer Sutherland and Chris Isaac are there too, playing FBI agents just as quirky and inevitably lovable as Dale Cooper (Kyle MacLachlan); Agent Phillip Jeffries (David Bowie) emerges from nowhere at a Philadelphia FBI building, then disappears as if ripped from our reality into another. —Dom Sinacola, Year: 1960 Director: Jean-Luc Godard Stars: Jean-Paul Belmondo, Jean Seberg, Daniel Boulanger Runtime: 90 minutes, Godard is arguably the most prolific, impactful French director of all time, and Breathless is his first New Wave film: To some, it spawned a revolution, and even if you object to that narrative, its influence on his home country and the New Hollywood period in 1970s America is undeniable. If you have seen it, chances are you haven’t seen anything quite like it since, because there isn’t much in animated cinema to match it. Oh, 100% accurate, but also just as deeply off putting as you’d expect the work of Cronenberg to be in so many cases. The entire town mourns her death, oblivious to the fact that their little village is slowly, literally, being erased from the face of the earth. In reality, the Amazon is ablaze, rampant inequality festers and indigenous populations are displaced all for the net benefit of the ruling class. —Andy Crump, © 2021 Paste Media Group. I Think Our Son is Gay - Volume 1 The feminist subtext of the film is very much foregrounded—clearly Jeanne is an avatar for Jeanne D’Arc (Joan of Arc), and there are also direct links in one scene between Jeanne and Marianne, the female personification of the French Republic—and despite the darkness Jeanne wallows in and the horrors she is subjected to, this is a film worth experiencing, mostly because there has really been nothing like it either before or since. 1137 Projects 1137 incoming 1137 knowledgeable 1137 meanings 1137 σ 1136 demonstrations 1136 escaped 1136 notification 1136 FAIR 1136 Hmm 1136 CrossRef 1135 arrange 1135 LP 1135 forty 1135 suburban 1135 GW 1135 herein 1135 intriguing 1134 Move 1134 Reynolds 1134 positioned 1134 didnt 1134 int 1133 Chamber 1133 termination 1133 overlapping 1132 newborn 1132 Publishers 1132 jazz … “You give me that in 30 seconds or I’ll kill you, you hear me?” he roars at a diner counterman, desperate for a cup of cream to help soothe Nicky’s ailing stomach. This story’s been with us since the 18th century and rendered in countless iterations, so I’ll forego the plot summary and just say: From the fourth-wall-breaking preamble, in which the director entreats the audience to approach the film with inner-child-forward faith in the magic of fairy tales, to the end, Beauty and the Beast remains a treasure of subtle imagery, mesmerizing music, baroque opulence, sexual intensity and total indulgence in fantasy, aided by Jean Marais (Beast) and Josette Day (Belle) delivering enchanting performances. —Michael Burgin, Year: 1984 Director: Robert Epstein Runtime: 88 minutes. Rapt with indelible images (most well known, perhaps, is Hoichi’s skin completely covered in the script of The Heart Sutra to ward off the ghosts’ influence), “Hoichi the Earless” is both deeply unnerving and quietly tragic, wrung with the sadness of Kobayashi’s admission that only forces beyond our control hold the keys to our fates. Following her family’s death, as an act of defiance, Julie destroys the score, rids herself of all her possessions and moves to Paris, avoiding all memories of the past—taking only her daughter’s blue chandelier. Five nuns are sent to establish a convent, school and hospital in a former harem. —Joe Pettit Jr. Year: 1962 Director: François Truffaut Stars: Jeanne Moreau, Oskar Werner, Henri Serre Runtime: 106 minutes, Widely regarded as a French touchstone, François Truffaut’s classic WWI-era love triangle is based on a semi-autobiographical novel of the same title by Henri-Pierre Roche, which Truffaut stumbled across in a Paris bookstore in the 1950s. Typically, queer-coded male villains tend to be effeminate, flamboyant, and/or talk with a lisp, while queer-coded female villains tend to be more masculine and brash than the movies' heroines.
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