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Almost thirty years later (with a Broadway adaptation in the works), “DDLJ” remains an indelible minute in Indian cinema. It told a poignant immigrant story with the message that heritage isn't lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
Even more acutely than either in the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better worse), and then mines a powerful solace from the cosmic thriller of how we might all mesh together.
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A sweeping adventure about a 14th century ironmonger, the animal gods who live within the forest she clearcuts to mine for ore, and 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 to be a cautionary tale about humanity’s disregard for nature, but its true power is rooted less in protest than in acceptance.
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Seen today, steeped in nostalgia to the freedoms of the pre-handover Hong Kong, “Chungking Categorical” still feels new. The film’s lasting power is especially impressive in the face of such a fast-paced world; a world in which nothing could be more important than a concrete offer from someone willing to share the same xncx future with you — even if that offer is composed on the napkin. —DE
A cacophonously intimate character study about a woman named Julie (a 29-year-outdated Juliette Binoche) who survives the vehicle crash that kills her famous composer husband and their innocent young daughter — and then tries to manage with her reduction by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for the trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The theory that life is ever as understandable as human subjectivity (or that of the film camera) can make it feel.
The Taiwanese master established himself since best porn movies the true, uncompromising heir to Carl Dreyer with “Flowers of Shanghai,” which arrives in the ‘90s much the way “Gertrud” did within the ‘60s: a film of such luminous beauty and singular style that it exists outside on the time in which it had been made altogether.
Depending on which Slash you see (and there are at least 5, not including admirer edits), you’ll have a different sprinkling of all of these, as Wenders’ original version was reportedly 20 hours long and took about ten years to make. The two theatrical versions, which hover around three hours long, were poorly received, as well as the film existed in various ephemeral states until the 2015 release from the recently restored 287-moment director’s Lower, taken from the edit that Wenders and his editor Peter Przygodda put together themselves.
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Looking over its shoulder in a century of cinema with the same time as it boldly steps into the next, the aching coolness of “Ghost Doggy” may perhaps have seemed silly Otherwise for Robby Müller’s gloomy cinematography and RZA’s funky trip-hop score. But Jarmusch’s film and Whitaker’s character are both so beguiling for that Unusual poetry they find in these unexpected combinations of cultures, tones, and times, a poetry that allows this (very funny) film to maintain an unbending perception of self even mainly because it trends in the direction of the utter brutality of this world.
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