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To best capture the full breadth, depth, and general radical-ness of ’90s cinema (“radical” in both the political and Teenage Mutant Ninja Turtles senses in the word), IndieWire polled its staff and most Repeated contributors for their favorite films with the ten years.

But no single facet of this movie can account for why it congeals into something more than a cute plan done well. There’s a rare alchemy at work here, a particular magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of the goateed Ben Affleck stage-fighting within the World (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a different world” just some short days before she’s forced to depart for another just one.

It’s easy to get cynical about the meaning (or lack thereof) of life when your occupation involves chronicling — on an yearly basis, no less — if a large rodent sees his shadow at a splashy event put on by a tiny Pennsylvania town. Harold Ramis’ 1993 classic is cunning in both its general concept (a weatherman whose live and livelihood is determined by grim chance) and execution (sounds terrible enough for one day, but what said day was the only working day of your life?

Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.” 

To the audio commentary that Terence Davies recorded for your Criterion Collection release of “The Long Working day Closes,” the self-lacerating filmmaker laments his signature loneliness with a devastatingly casual perception of disregard: “As being a repressed homosexual, I’ve always been waiting for my love to come.

tells the tale of gay activists while in the United Kingdom supporting a 1984 coal miners strike. It’s a movie filled with heart-warming solidarity that’s sure to acquire you laughing—and thinking.

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The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it absolutely was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated hit tells the live sex story of melons tube the former teacher named Dora (Fernanda Montenegro), who makes a living producing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe along with a bit tactless, Montenegro’s Dora is way from a lovable maternal figure; she’s quick to guage her clients and dismisses their struggles with arrogance.

helped moved gay cinema away from being a strictly all-white affair. The British Film Institute ranked it lewd floosy destroyed by monster at number 50 in its list of the Top 100 British films from the 20th century.

S. soldiers eating each other at a remote Sierra Nevada outpost during the Mexican-American War, and the last time that a Fox 2000 government would roll as many as a established three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired for the work with the director of “Home Alone three.” 

“Earth” uniquely examines the split between India and Pakistan through the eyes of a kid who witnessed the outdated India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all contribute into the unforced poignancy).

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His first feature straddles both worlds, exploring the conflict that he himself felt to be a young man in this lightly fictionalized version of his have story. Haroun plays himself, an up-and-coming Chadian film director based in France, who returns to his birth country to attend his mother’s funeral.

is possibly the first feature film with fully rounded female characters who're attracted to each other without that attraction being contested by a male.” In line with Curve

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