When “Schindler’s List” was released in December 1993, triggering a discourse Among the many Jewish intelligentsia so heated and high-stakes that it makes any of today’s Twitter discourse feel spandex-thin by comparison, Village Voice critic J. Hoberman questioned the prevalent wisdom that Spielberg’s masterpiece would forever change how people think on the Holocaust.
“Eyes Wide Shut” may not seem to be as epochal or predictive as some with the other films on this list, but no other ’90s movie — not “Safe,” “The Truman Show,” or even “The Matrix” — left us with a more exact perception of what it would feel like to live while in the 21st century. In a very word: “Fuck.” —DE
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There are profound thoughts and concepts handed out, but it surely's never created to the nose--It is really delicate enough to avoid that trap. Some scenes are just Excellent. Like bonga cam the a person in school when Yoo Han is trying to convince Yeon Woo by talking about beguiling teen arina d enjoys shaking her shapes coloration theory and showing him the color chart.
Dash’s elemental way, the non-linear framework of her narrative, as well as sensuous pull of Arthur Jafa’s cinematography combine to produce a rare film of raw beauty — one that didn’t ascribe to Hollywood’s notion of Black people or their cinema.
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Davis renders time period piece scenes for a Oscar Micheaux-encouraged black-and-white silent film replete with inclusive intertitles and archival photographs. A single particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie in a theater. It’s short, but exudes Black Pleasure by granting a rare historical nod recognizing how Black people of the earlier experienced more than crushing hardships.
Tarr has never been an overtly political filmmaker (“Politics makes everything also uncomplicated and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never had a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is inside the thrall of another authoritarian leader displays both the recursive arc of modern history, as well as full power of Tarr’s sinister parable.
An endlessly clever exploit from the public domain, “Shakespeare in Love” regrounds the most star-crossed love story ever told by inventing a host of (very) fictional details about its creation that all stem from a single truth: Even the most immortal art is altogether human, and a product of each of the passion and nonsense that comes with that.
Even better. A testament into the power of big ideas and bigger execution, only “The Matrix” could make us even dare to dream that we know kung fu, and would want to make use of it to complete nothing less than save the entire world with it.
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When Satoshi Kon died from pancreatic cancer in 2010 at the tragically premature age of 46, not only did the film world reduce among its greatest storytellers, it also lost among its most gifted seers. Not one person had a more accurate grasp on how the electronic age would see fiction and reality bleed into each other about the most private levels of human notion, and all four with the wildly different features that he made in his quick career (along with his masterful Television show, “Paranoia Agent”) are bound together by a shared preoccupation with the fragility in the self in the shadow of mass media.