The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite often—hiding behind a person door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night and the creaky house grows darker, the directors and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence successfully, prompting us to hold our breath just like the youngsters to avoid being found.
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People have been making films about the gas chambers since the fumes were still within the air, but there was a worryingly definitive whiff for the experience of seeing a person from the most well-known director in all of post-war American cinema, Permit alone 1 that shot Auschwitz with the same virtuosic thrill that he’d previously placed on Harrison Ford working away from a fiberglass boulder.
Will not dream it, just whether it is! This cult classic has cracked many a shell and opened many a closet door. While the legendary midnight screenings are postponed because in the pandemic, have your individual stay-at-home screening!
A sweeping adventure about a 14th century ironmonger, the animal gods who live in the forest she clearcuts to mine for ore, plus the doomed warrior prince who risks what’s left of his life to stop the war between them, Miyazaki’s painstakingly lush mid-career masterpiece has long been seen like a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
Side-eyed for years before the film’s beguiling power began to more fully reveal itself (Kubrick’s swansong proving to become every inch as mysterious and rich with meaning as “The Shining” or “2001: A Space Odyssey”), “Eyes Wide Shut” can be a clenched sleepwalk through a swirl of fang pleasuring action by sex appeal beauty overlapping dreamstates.
William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed and settled into a life of peace. He takes one last occupation: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover from the tyrannical sheriff of the small town (Gene Hackman), who’s so determined to “civilize” the untamed landscape in his personal way (“I’m building a house,” he consistently declares) he lets all kinds of injustices materialize on his watch, so long as his have power is safe. What will be to be done about someone like that?
Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or Julie from “The Worst Human being while in the World,” tinged with Rejtman’s regular brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identification crisis of kinds, prompting her to curl her hair, don fake nails, and wear a fur coat into a meeting arranged between The 2.
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Navigating lesbian themes was a tricky undertaking during the repressed natural environment of your early sixties. But this revenge drama experienced the good thing about two of passionate sex cinema’s all-time powerhouses, Audrey Hepburn and Shirley MacLaine, during the leading roles, as well as three-time Best Director Oscar winner William Wyler at the helm.
“Public Housing” presents a tough balancing act for the filmmaker who’s drawn to poverty but also lifeless-set against the manipulative sentimentality of aestheticizing it, and however Wiseman is uniquely well-prepared to the challenge. His camera simply just lets the residents be, and they reveal themselves to it in response. We meet an elderly woman, living on her possess, who cleans a huge lettuce leaf with Jeanne Dielman-like care and then celebrates by calling a loved a person to talk about how she’s not “doing so incredibly hot.
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This underground cult classic tells the story of a high school cheerleader who’s sent to conversion therapy camp after her family suspects she’s a lesbian.
From that rich premise, “Walking and Talking” churns into a characteristically small-vital but razor-sharp drama about the complexity of women’s internal lives, as the writer-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her hot gay sex male characters as well.