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this relatively unsung drama laid bare the devastation the previous pandemic wreaked on the gay Local community. It had been the first film dealing with the subject of AIDS to receive a wide theatrical release.
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“The top of Evangelion” was ultimately not the top of “Evangelion” (not even close), but that’s only because it allowed the sequence and its author to zoom out and out and out until they could each see themselves starting over. —DE
Back in 1992, however, Herzog had less cozy associations. His sparsely narrated fifty-minute documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, significantly removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism into the disaster. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such vast nightmare landscapes that it makes their prayers feel like they are being answered through the Devil instead.
In the a long time considering that, his films have never shied away from challenging subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” for the cruel bureaucracy facing asylum seekers in “A Period In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it's to cinema’s great fortune that the real Haroun did not do the same. —LL
It’s easy to make high school and its inhabitants seem foolish or transitory, but Heckerling is keenly mindful of the formative power of those teenage years. “Clueless” xideo understands that while some of its characters’ concerns are small potatoes (yes, some people did reduce all momswap their athletic devices during the Pismo Beach catastrophe, and no, a biffed driver’s test is not the close from the world), these experiences are also going to contribute to just how they solution life forever.
The relentless nihilism of Mike Leigh’s “Naked” can be a hard pill to swallow. Well, less a tablet than a glass of acid with rusty blades for ice cubes. David Thewlis, inside of a breakthrough performance, is on the dark night on the soul en route to the end with the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on how there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman amateur knob sucking before anal for homosexual lovers in a dank Manchester alley before he’s chased off by her family and flees into a crummy corner of east London.
The Taiwanese master established himself because the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives in the ‘90s much just how “Gertrud” did while in the ‘60s: a film of such luminous beauty and singular style that it exists outside in the time in which it had been made altogether.
this fantastical take on Elton John’s story doesn’t straight-wash its subject’s sex life. Pair it with 1998’s Velvet Goldmine
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There are manic pixie dream girls, and there are manic pixie dream girls. And then — one,000 miles past the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis for a disaffected, suicidal, 21-year-old nymphomaniac named Advertèle who throws herself into the Seine at the start of Patrice Leconte’s romantic, intoxicating “The Girl within the Bridge,” only to be plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a whole new ingenue to play the human target in his traveling circus act.
Time seems to have stood still in this place with its black-and-white TV set and rotary phone, a couple of lonely pumpjacks groaning outside furnishing the only sound or movement for miles. (A “Make America Great Again” sticker around the back of a beat-up car is vaguely amusing but seems gratuitous, and it shakes us from the film’s foggy mood.)