“Magnolia” is many, many (many) things, but first and foremost it’s a movie about people who will be fighting to live above their pain — a theme that not only runs through all nine parts of this story, but also bleeds through Paul Thomas Anderson’s career. There’s John C. Reilly as Officer Jim Kurring, who’s efficiently cast himself as the hero and narrator of the non-existent cop show in order to give voice for the things he can’t acknowledge. There’s Jimmy Gator, the dying game show host who’s haunted by every one of the ways he’s failed his daughter (he’s played by the late Philip Baker Hall in one of the most affectingly human performances you’ll ever see).
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People have been making films about the gasoline chambers Because the fumes were still inside the air, but there was a worryingly definitive whiff into the experience of seeing 1 from the most popular director in all of post-war American cinema, Enable alone one that shot Auschwitz with the same virtuosic thrill that he’d previously applied to Harrison Ford working away from a fiberglass boulder.
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This stunning musical biopic of music and fashion icon Elton John is one of our favorites. They You should not shy away from showing gay sex like many other similar films, plus the songs and performances are all top notch.
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are some of the images that linger after you emerge from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of five sisters in parochial suburbia.
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helped moved gay cinema away from being a strictly all-white affair. The British Film Institute ranked it at number 50 in its nude videos list of the very best one hundred British films from the 20th century.
No matter how bleak things get, Ghost Canine’s rigid system of perception allows him to maintain his dignity from the face of lethal circumstance. More than that, it serves as being a metaphor with the world of impartial cinema itself (a domain in which Jarmusch had already become an elder statesman), and a reaffirmation of its faith from the idiosyncratic and uncompromising artists who lend it their lives. —LL
“Earth” uniquely examines the split between India and Pakistan through the eyes of a youngster who witnessed the aged India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all contribute to your unforced poignancy).
The ’90s began pornworld with a revolt against the kind of bland Hollywood products that people might eliminate to check out in theaters today, creaking open a small window of time in which a more commercially feasible American independent cinema began seeping into mainstream fare. Young and exciting directors, many of whom are now significant auteurs and perennial IndieWire favorites, were given the means to make multiple films — some of them on massive scales.
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