In true ‘90s underground trend, Dunye enlisted the photographer Zoe Leonard to create an archive of the fictional actress and blues singer. The Fae Richards Photo Archive consists of 82 images, and was shown as part of Leonard’s career retrospective for the Whitney Museum of Modern Art in 2018. This spirit of collaboration, and also the radical act of writing a Black and queer character into film history, is emblematic of a ‘90s arthouse cinema that wasn’t afraid to revolutionize the earlier in order to make a more possible cinematic future.
“Ratcatcher” centers around a twelve-year-old boy living from the harsh slums of Glasgow, a location frighteningly rendered by Ramsay’s stunning images that drive your eyes to stare long and hard at the realities of poverty. The boy escapes his depressed world by creating his very own down with the canal, and his encounters with two pivotal figures (a love interest and a friend) teach him just how beauty can exist within the harshest surroundings.
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Unspooling over a timeline that leads up towards the show’s pilot, the film starts off depicting the FBI investigation into the murder of Teresa Banks (Pamela Gidley), a sexual intercourse worker who lived inside a trailer park, before pivoting to observe Laura during the week leading as many as her murder.
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Sure, the Coens take almost fetishistic pleasure in the style tropes: Con male maneuvering, tough man doublespeak, sex vidoes and a hero who plays the game better than anyone else, all of them xham wrapped into a gloriously serpentine plot. And still the very conclusion of the film — which climaxes with among the list of greatest last shots of the ’90s — reveals just how cold and empty that game has been for most on the characters involved.
The Taiwanese master established himself because the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives while in the ‘90s much the way in which “Gertrud” did while in the ‘60s: a film of such luminous beauty and singular style that it exists outside with the time in which it was made altogether.
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” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and most of all in his personal films.
Making the most of his background for a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a number of eporner polite jav porn interrogations, his camera watching observantly as more than a half-dozen characters attempt to distill themselves into one particular perfect second. The episodes they ultimately choose are wistful and wise, each moving in its individual way.
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is possibly the first feature film with fully rounded female characters that are attracted to each other without that attraction being contested by a male.” According to Curve