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The film is framed as being the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality with the great Denis Lavant). Loosely determined by Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use of the Benjamin Britten opera that was likewise influenced by Melville’s work, as excerpts from Britten’s opus take over a haunting, nightmarish quality as they’re played over the unsparing training exercise routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing while in the desert with their arms within the air and their eyes closed as if communing with a higher power, or consistently smashing their bodies against just one another in the series of violent embraces.
The legacy of “Jurassic Park” has brought about a three-10 years long franchise that a short while ago hit rock-bottom with this summer’s “Jurassic World: Dominion,” but not even that is enough to diminish its greatness, or distract from its nightmare-inducing power. For a wailing kindergartener like myself, the film was so realistic that it poised the tear-filled query: What if that T-Rex came to life along with a real feeding frenzy ensued?
It’s taken decades, but LGBTQ movies can finally feature gay leads whose sexual orientation isn’t central towards the story. When an Anglo-Asian person (
Other fissures emerge along the family’s fault lines from there because the legends and superstitions of their previous once again become as viscerally powerful and alive as their difficult love for each other. —RD
Back in 1992, however, Herzog experienced less cozy associations. His sparsely narrated 50-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 towards 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 appear to be like they are being answered via the Devil instead.
Taiwanese filmmaker Edward Yang’s social-realist epics normally possessed the scary breadth and scope of the great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Working day,” a sprawling story of 1 middle-class boy’s sentimental pronhub education and downfall set against the backdrop of the pivotal second in his country’s history.
The ingloriousness of war, and the basis of pain that would be passed down the generations like gay porn a cursed heirloom, is often seen even from the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity inside a long career that has alway looked at us askance. —LL
Set in Calvinist small town atop the Scottish Highlands, it's the first part of Von Trier’s “Golden Heart” trilogy as Watson plays a woman who has intercourse with other men to please her husband after a collision has left him immobile. —
And yet “Eyes Wide Shut” hardly requires its astounding meta-textual mythology (which includes the tabloid fascination around Tom Cruise and Nicole Kidman’s sick-fated marriage) to earn its place because the definitive film on the 1990s. What’s more significant is that its release during the last year of the last 10 years in the 20th century feels like a fated rhyme for your fin-de-siècle Power of Schnitzler’s novella — established in Vienna roughly one hundred years previously — a rhyme that resonates with another story about upper-class people floating so high above their own lives they can see the whole world clearly save to the abyss that’s yawning open at their feet.
Most of the thrill focused on the prosthetic nose Oscar winner Nicole Kidman wore to play legendary author Virginia Woolf, even so the film deserves extra credit for handling LGBTQ themes in such a poetic and mostly understated way.
Tailored from the László Krasznahorkai novel from the same name and maintaining the book’s dance-inspired chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in pornktube post-communist Hungary, news of which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the lifeless” and prey on the nude desolation he finds One of the desperate and easily manipulated townsfolk.
You might love it for that whip-intelligent screenplay, which received Callie Khouri an Academy Award. Or maybe to the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a person trying to rape Thelma outside a dance hall.
His first feature straddles both worlds, exploring the conflict that he himself felt for a young man in this lightly fictionalized version of his personal story. Haroun plays himself, an up-and-coming Chadian film director situated in France, who returns to his birth country to attend his mother’s funeral.
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