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The majority of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite often—hiding behind just one door or another as he skulks about, trying to find his friend while outwitting his captors. As working day turns to night as well as the creaky house grows darker, the administrators and cinematographer Julian Estrada use dramatic streaks of light to illuminate ominous hallways and cramped quarters. They also use silence proficiently, prompting us to hold our breath just like the children to avoid being found.

The characters that power so much of what we think of as “the movies” are characters that go for it. Dramatizing someone who doesn’t Select This is a much harder inquire, more often the province of your novel than cinema. But Martin Scorsese was up to the challenge in adapting Edith Wharton’s 1920 novel, which features a character who’s just that: Newland Archer (Daniel Working day-Lewis), among the list of young lions of 1870s New York City’s elite, is in love with the Countess Olenska (Michelle Pfeiffer), who’s still married to another gentleman and finding it challenging to extricate herself.

Even more acutely than both on 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.

Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a struggling young singer into the Empress of Blues. Latifah delivers a great performance, as well as the film is full of amazing music. When it aired, it absolutely was the most watched HBO film of all time.

The timelessness of “Central Station,” a film that betrays none of the mawkishness that elevated so much from the ’90s middlebrow feel-good fare, might be owed to how deftly the script earns the bond that forms between its mismatched characters, and how lovingly it tends into the vulnerabilities they expose in each other. The ease with which Dora rests her head on Josué’s lap in a very poignant scene implies that whatever twist of fate brought this pair together under such trying circumstances was looking out for them both.

For all of its sensorial timelessness, “The Girl within the Bridge” might be as well drunk By itself fantasies — male or otherwise — to shimmer as strongly today because it did in the summer of 1999, but Leconte’s faith during the ecstasy of filmmaking lingers every one of the same (see: the orgasmic rehearsal sequence established to Marianne Faithfull’s “Who Will Take My Dreams Away,” proof that all you need to make a movie is actually a girl and a knife).

Tailored from Jeffrey Eugenides’s wistful novel and featuring voice-over narration lifted from its pages (read by Giovanni Ribisi), the film peers into the lives in the Lisbon sisters alongside a clique of neighborhood boys. Mesmerized from the willowy young women — particularly Lux (Kirsten desi 49 Dunst), the household coquette — the young gents study and surveil them with a sense of longing that is by turns amorous and meditative.

That dilemma is vital to understanding the film, whose hedonism is just a doorway ebony sex for viewers to step through in search of more sublime sensations. Cronenberg’s course is cold and clinical, the near-continual fucking mechanical and indiscriminate. The only time “Crash” really comes porncomics alive is within the instant between anticipating Demise and escaping it. Merging that rush of adrenaline with orgasmic release, “Crash” takes the vehicle as being a phallic symbol, its potency tied to its potential for violence, and redraws the boundaries of romance around it.

Possibly you love it for the message — the film became a feminist touchstone, showing two lawless women who fight back against abuse and find freedom in the process.

(They do, however, steal one of the most famous images ever from one of several greatest horror movies ever in the scene involving an axe and a bathroom door.) And while “The Boy Behind the Door” runs from steam a tad inside the 3rd act, it’s mostly a tight, well-paced thriller with terrific central performances from a couple of young actors with bright futures ahead of them—once they get outside of here, that is.

This critically beloved drama was groundbreaking not only for its depiction of gay Black love but for presenting complex, layered Black characters whose struggles don’t revolve around White people and racism. Against all conceivable odds, it triumphed over the conventional Hollywood romance La La Land

Viewed through a different lens, the movie is also a intercourse comedy, perceptively dealing with themes of queerness, body dysphoria plus the desire to lose oneself in the throes of pleasure. Cameron Diaz, playing Craig’s frizzy melons tube veterinarian wife Lotte, has never been better, and Catherine Keener is magnetic since the haughty Maxine, a coworker who Craig covets.

His first feature straddles both worlds, exploring the conflict that he himself felt to be a german brunette housewife small tits fucked in kitchen young guy in this lightly fictionalized version of his own 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.

From that rich premise, “Walking and Talking” churns into a characteristically very low-vital but razor-sharp drama about the complexity of women’s inner lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.