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To best capture the full breadth, depth, and general radical-ness of ’90s cinema (“radical” in both the political and Teenage Mutant Ninja Turtles senses of the word), IndieWire polled its staff and most Repeated contributors for their favorite films with the decade.
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It doesn’t get more romantic than first love in picturesque Lombardo, Italy. Throw in an Oscar-nominated Timothée Chalamet like a gay teenager falling hard for Armie Hammer’s doctoral student, a dalliance with forbidden fruit and in A serious supporting role, a peach, and you simply’ve obtained amore
by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown
Shot in kinetic handheld from beginning to end in what a feels like a single breath, Jean-Pierre and Luc Dardenne’s propulsive (first) Palme d’Or-winner follows the teenage Rosetta (Emilie Duquenne) as she desperately tries to hold down a career to assistance herself and her alcoholic mother.
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The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it had been shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated strike tells the story of a former teacher named Dora (Fernanda Montenegro), who makes a living crafting letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe along with a little bit tactless, Montenegro’s Dora is much from a lovable maternal figure; she’s quick to guage her clients and dismisses their struggles with arrogance.
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“After Life” never describes itself — Quite the opposite, it’s presented with the dull matter-of-factness of another Monday morning with the office. Somewhere, during the peaceful limbo between this world as well as the next, there is usually a spare but peaceful facility where the useless are interviewed about their lives.
“Public Housing” presents a tough balancing act to get a filmmaker who’s drawn to poverty but also dead-set against the manipulative sentimentality of aestheticizing it, and still Wiseman is uniquely well-ready for the challenge. His camera only lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her very own, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved one to talk about how she’s not “doing so very hot.
More than just a breakneck look inside the porn sector because it struggled for getting over the hump of home video, “Boogie Nights” is often a story about riley reid a magical valley of misfit toys — action figures, to get specific. All of these horny weirdos have been cast out from their families, all of them are looking for surrogate relatives, and all of them have followed the American Dream alyx star into the same ridiculous place.
Outside of that, this buried gem adriana chechik will always shine because of The straightforward knowledge it unearths in the story of two people who come to appreciate the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only bad company.” —DE
is perhaps the first feature film with fully rounded female characters who are attracted to each other without that attraction being contested by a male.” In line with Curve