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So how did “Ravenous” endure this tumult to become such a delectable finish-of-the-century treat? In a very beautiful situation of life imitating art, the film’s cast mutinied against Raja Gosnell, leaving actor Robert Carlyle with a taste for blood and also the energy needed to insist that Fox employ the service of his Recurrent collaborator Antonia Fowl to take over behind the camera.
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Yang’s typically fixed yet 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 legislation plus 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 one of its useless leaders — feel national in scale.
To debate the magic of “Close-Up” is to debate the magic on the movies themselves (its title alludes into a particular shot of Sabzian in court, but also to the kind of illusion that happens right in front of your face). In that light, Kiarostami’s dextrous work of postrevolutionary meta-fiction so naturally positions itself as among the greatest films ever made because it doubles because the ultimate self-portrait of cinema itself; of your medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound.
This drama explores the interior and outer lives of various LGBTQ characters dealing with repression, despair and hopelessness across centuries.
Taiwanese filmmaker Edward Yang’s social-realist epics generally possessed the intimidating breadth and scope of the great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Day,” a sprawling story of one middle-class boy’s sentimental education and downfall established against the backdrop of the pivotal instant in his country’s history.
He wraps his body around him as he helps him find the porntrex hole, running his hands over the boy’s arms and shoulders. Tension builds as they feel their skin graze against just one another, before the boy’s crotch grows hard with exhilaration. The father holy fuck he is digging himself a hole in that twinks body is quick to help him out with that as well, eager to feel his boy’s hole between his fingers as well.
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One night, the good Dr. Bill Harford could be the same toothy and confident Tom Cruise who’d become the face of Hollywood itself from the ’90s. The next, he’s fighting back flop sweat as he gets lost in the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers and also the sinister ultra-rich they serve (masters with the universe who’ve fetishized their role in our plutocracy on the point where they can’t even throw a straightforward orgy without turning it into a semi-ridiculous “Sleep No More,” or get themselves off without putting the concern of God into an uninvited guest).
It didn’t work out so well for your last girl, but what does Adèle care? The hole in her heart is almost as massive because the hole between her teeth, and there isn’t a person alive who’s been capable to fill it to porn gub this point.
Acting is nice, production great, it's just really well balanced for such a contrast in main themes.
Making the most of his background to be a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a series of polite interrogations, his camera watching observantly as more than a half-dozen characters make an effort to distill themselves into 1 perfect moment. The episodes they ultimately choose are wistful and wise, each moving in its very own way.
Possibly it’s fitting that a road movie — xhamster gay the ultimate road movie — exists in so many different iterations, each longer than the next, spliced together from other iterations that together make a sense of a grand cohesive whole. There is beauty in its meandering quality, its concentration not on the kind of conclude-of-the-world plotting that would have Gerard Butler foaming at the mouth, but about the comfort and ease of friends, lovers, family, acquaintances, and strangers just hanging out. —ES
We asked to the movies that experienced them at “hello,” the esoteric picks they’ve never forgotten, the Hollywood monoliths, the international gems, the documentaries that captured time in the bottle, and the kind phornhub of blockbusters they just don’t make anymore.