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It’s fascinating watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer thus far away from the anarchist bent of “Odd Days.” And yet it’s our relationship to footage of Black trauma that is different too.

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The movie was encouraged by a true story in Iran and stars the particular family members who went through it. Mere days after the news product broke, Makhmalbaf turned her camera around the family and began to record them, directing them to reenact specific scenes according to a script. The ethical inquiries raised by such a technique are complex.

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For such a short drama, It really is very well rounded and feels like a much longer story resulting from good planning and directing.

The relentless nihilism of Mike Leigh’s “Naked” might be a hard tablet to swallow. Well, less a capsule than a glass of acid with rusty blades for ice cubes. David Thewlis, in a very breakthrough performance, is with a dark night of the soul en route to the end from the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on how there, his cattle prod of the film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman inside a dank Manchester alley before he’s chased off by her family and flees to some crummy corner of east London.

Tarr has never been free poen an overtly political filmmaker (“Politics makes everything too easy and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” pornstars and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is inside the thrall of another authoritarian leader demonstrates both the recursive arc of the latest history, and the full power of Tarr’s sinister parable.

this fantastical take on Elton John’s story doesn’t straight-wash its subject’s sex life. Pair it with 1998’s Velvet Goldmine

Dripping in radiant beauty by cinematographer Michael Ballhaus and Outdated Hollywood grandeur from composer hot sex Elmer Bernstein, “The Age of Innocence” above all leaves you with a feeling of sadness: not for any past gone by, like so many time period pieces, but with the opportunities left un-seized.

There’s a purity for the poetic realism of Moodysson’s filmmaking, which generally ignores the reduced-budget constraints of shooting at night. Grittiness becomes quite beautiful in his hands, creating a rare and visceral ease and comfort for his young cast as well as lives they so naturally inhabit for Moodysson’s camera. —CO

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The actual fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” czech porn had to be retitled something as anodyne as “Show Me Love” for its U.S. release is really a perfect testament into a portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.

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