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— and it hinges on an unlikely friendship that could only exist inside the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to generally be the best.
“Deep Cover” is many things at once, including a quasi-male love story between Russell and David, a heated denunciation of capitalism and American imperialism, and ultimately a bitter critique of policing’s effect on Black cops once Russell begins resorting to murderous underworld practices. At its core, however, Duke’s exquisitely neon-lit film — a hard-boiled style picture that’s carried by a banging hip-hop soundtrack, sees criminality in both the shadows as well as Sunlight, and keeps its unerring gaze focused over the intersection between noir and Blackness — is about the duality of identity more than anything else.
Yang’s typically fastened yet unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial legislation and also the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of one of its useless leaders — feel nationwide in scale.
Other fissures emerge along the family’s fault lines from there as the legends and superstitions of their earlier once again become as viscerally powerful and alive as their challenging love for each other. —RD
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
auteur’s most endearing Jean Reno character, his most discomforting portrayal of a (very) young woman within the verge of the (very) personal transformation, and his most instantly percussive Éric Serra score. It prioritizes cool style over popular feeling at every possible juncture — how else to explain Léon’s superhuman power to fade into the shadows and crannies in the Manhattan apartments where he goes about his business?
Seen today, steeped in nostalgia for that freedoms of the pre-handover Hong Kong, “Chungking Express” still feels new. The film’s lasting power is especially impressive while in the face of such a fast-paced world; a world in which nothing could be more useful than a concrete offer from someone willing to pure mature share the same future with you — even if that offer is published on a napkin. —DE
A profoundly soulful plea for peace while in the guise of straightforward family fare, “The Iron Giant” continues to stand tall as on the list of best and most philosophically complex American animated adult porn films ever made. Despite, Or maybe because of the movie’s power, its release was bungled from the start. Warner Bros.
Tarr has never been an overtly political filmmaker (“Politics makes everything much too easy and primitive for me,” he told IndieWire in 2019, lesbian strapon 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 reflects both the recursive arc of the latest history, and the full power of Tarr’s sinister parable.
Emir Kusturica’s characteristic exuberance and frenetic pacing — which usually feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Power spilling across the tortured spirit of his beloved Yugoslavia since the country endured through an extended duration of disintegration.
Gus Van Sant’s gloriously unfortunate road movie borrows from the worlds of author John Rechy and even the director’s individual “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark within 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 explanation to swoon over their indie red wap heartthrob status.
You might love it for the whip-intelligent screenplay, which gained Callie Khouri an Academy Award. Or perhaps for the chemistry between its two leads, because Susan Sarandon and Geena Davis couldn’t have lovable trannie enjoys facials after anal sex been better cast as Louise, a jaded waitress and her friend Thelma, a naive housewife, whose worlds are turned upside down during a weekend girls’ trip when Louise fatally shoots a man trying to rape Thelma outside a dance hall.
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Claire Denis’ “Beau Travail” unfurls coyly, revealing one indelible image after another without ever fully giving itself away. Released within the tail finish of your millennium (late and liminal enough that people have long mistaken it for an item from the 21st century), the French auteur’s sixth feature demonstrated her masterful ability to build a story by her very own fractured design, her work frequently composed by piecing together seemingly meaningless fragments like a dream you’re trying to recollect the next working day.