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The film is framed given that the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality through the great Denis Lavant). Loosely dependant on Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise impressed by Melville’s work, as excerpts from Britten’s opus take with a haunting, nightmarish quality as they’re played over the unsparing training exercise routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing during the desert with their arms inside the air and their eyes closed just as if communing with a higher power, or frequently smashing their bodies against a person another within a number of violent embraces.

“What’s the primary difference between a Black guy plus a n****r?” A landmark noir that hinges on Black id plus the so-called war on drugs, Bill Duke’s “Deep Cover” wrestles with that provocative question to bloody ends. It follows an undercover DEA agent, Russell Stevens Jr. (Laurence Fishburne at his absolute hottest), as he works to atone to the sins of his father by investigating the copyright trade in Los Angeles inside a bid to bring Latin American kingpins to court.

Even more acutely than either in the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better even worse), and then mines a powerful solace from the cosmic mystery of how we might all mesh together.

To discuss the magic of “Close-Up” is to discuss the magic of your movies themselves (its title alludes to some particular shot of Sabzian in court, but also to the sort of illusion that happens right in front of your face). In that light, Kiarostami’s dextrous work of postrevolutionary meta-fiction so naturally positions itself as one of the greatest films ever made because it doubles since the ultimate self-portrait of cinema itself; from the medium’s tenuous relationship with truth, of its singular capacity for exploitation, and of its unmatched power for perverting reality into something more profound. 

The climactic hovercraft chase is up there with the ’90s best action setpieces, and the top credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble inside the Bronx” there was no turning back. —DE

Assayas has defined the central query of “Irma Vep” as “How can you go back for the original, virginal toughness of cinema?,” however the film that problem prompted him to make is only so rewarding because the solutions it provides all seem to contradict each other. They ultimately flicker together in among the greatest endings with the ten years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless Otherwise for the way perfectly they indicate Vidal’s achievements at creating a cinema that is shaped — although not owned — from the past. More than 25 superchatlive years later, Assayas is still trying to determine how he did that. —DE

The LGBTQ Local community has come a long way in the dark. For many years, when the lights went out in cinemas, movie screens were populated almost exclusively with heterosexual characters. When gay and lesbian characters showed up, it had been usually in the form of broad stereotypes delivering short comic reduction. There was no on-screen representation of those inside the community as ordinary people or as people fighting desperately for equality, although that slowly started to vary after the Stonewall Riots of 1969.

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“Underground” is definitely an ambitious three-hour surrealist farce (there was a 5-hour version for television) about what happens on the soul of a country when its people are forced to live in a relentless state mobile porn of war for 50 years. The twists of the plot are as absurd as they are troubling: One part finds Marko, a rising leader from the communist party, shaving minutes off the clock each day so that the people he keeps hidden believe the most latest war ended more a short while ago than it did, and will therefore be influenced to manufacture ammunition for him in a faster rate.

“After Life” never points out itself — Quite the opposite, it’s presented with the uninteresting matter-of-factness of another Monday morning on the office. Somewhere, from the tranquil limbo between this world as well as the next, there porn stories is actually a spare but peaceful facility where the useless hard porn are interviewed about their lives.

Gus Van Sant’s gloriously unfortunate road movie borrows from the worlds of creator John Rechy and even the director’s have “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark from the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a rationale to swoon over their indie heartthrob status.

Despite criticism for its fictionalized account of Wegener’s story along with the casting of cisgender actor Eddie Redmayne inside the title role, the film was a crowd-pleaser that performed well for the box office.

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Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence occur subtly. Shots of Linguere staring out to sea mix beauty and malice like several things in cinema due to the fact Godard’s “Contempt.”