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The delightfully deadpan heroine on the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his very own novel on the same name, could be compared to Amélie on Xanax. Her day-to-working day life is filled with chance interactions along with a fascination with strangers, nevertheless, at 27, she’s more concerned with trying to vary her have circumstances than with facilitating random functions of kindness for others.
Underneath the cultural kitsch of everything — the screaming teenage fans, the “king of the world” egomania, the instantly common language of “I want you to draw me like amongst your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s personal obsession with the Ship of Dreams (which he naturally cast to play itself in the movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between past and present), and continues with every facet of the script that revitalizes its essential story of star-crossed lovers into something iconic.
People have been making films about the fuel chambers Because the fumes were still within the air, but there was a worryingly definitive whiff into the experience of seeing a single from the most well-known director in all of post-war American cinema, Allow alone a person that shot Auschwitz with the same virtuosic thrill that he’d previously applied to Harrison Ford functioning away from a fiberglass boulder.
There would be the method of bloody satisfaction that Eastwood takes. As this country, in its endless foreign adventurism, has so many times in ostensibly defending democracy.
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 sexvidios 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 guidance herself and her alcoholic mother.
Seen today, steeped in nostalgia for that freedoms of the pre-handover Hong Kong, “Chungking Categorical” still feels new. The film’s lasting power is especially impressive within the face of such a fast-paced world; a world in which nothing could be more precious than a concrete offer from someone willing to share the same future with you — even if that offer is published on the napkin. —DE
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“Earth” uniquely examines the split between India and Pakistan through the eyes of a baby who witnessed the previous 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 add to your unforced poignancy).
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