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The film is framed as being the recollections of Sergeant Galoup, a former French legionnaire stationed in Djibouti (he’s played with a mix of cruel reserve and vigorous physicality via the great Denis Lavant). Loosely according to Herman Melville’s 1888 novella “Billy Budd,” the film makes brilliant use in the Benjamin Britten opera that was likewise encouraged by Melville’s work, as excerpts from Britten’s opus take over a haunting, nightmarish quality as they’re played over the unsparing training routines to which Galoup subjects his regiment: A dry swell of shirtless legionnaires standing inside the desert with their arms while in the air and their eyes closed just as if communing with a higher power, or frequently smashing their bodies against one particular another inside of a series of violent embraces.
Almost 30 years later (with a Broadway adaptation inside the works), “DDLJ” remains an indelible moment in Indian cinema. It told a poignant immigrant story with the message that heritage is not really lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.
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The outdated joke goes that it’s hard for the cannibal to make friends, and Hen’s bloody smile of the Western delivers the punchline with pieces of David Arquette and Jeremy Davies stuck between its teeth, twisting the colonialist mindset behind Manifest Destiny into a bonafide meal plan that it sums up with its opening epipgrah and then slathers all over the display screen until everyone gets their just desserts: “Try to eat me.” —DE
Back in 1992, however, Herzog had less cozy associations. His sparsely narrated 50-minute documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, far removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism into the disaster. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such broad nightmare landscapes that it makes their prayers look like they are being answered through the Devil instead.
Figuratively (and almost literally) the ultimate movie on the 20th Century, “Fight Club” would be the story of an average white American guy so alienated from his id that he becomes his have
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Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or Julie from “The Worst Person in the World,” tinged with Rejtman’s normal brand of dry humor. When our heroine learns that another woman shares her name, it prompts an id crisis of kinds, prompting her to curl xxxxporn her hair, don fake nails, and wear a fur coat to your meeting organized between The 2.
“Underground” is really an ambitious three-hour surrealist farce (there was a five-hour version for television) about what happens to your soul of a country when its people are forced to live in a relentless state of war for fifty years. The twists with the plot are as absurd as they are troubling: 1 part finds Marko, a rising leader while in the communist party, shaving minutes from the clock each day so that the people he keeps hidden believe the most modern war ended more recently than it did, sparkbang and will therefore be encouraged to manufacture ammunition for him in a faster charge.
Spike Jonze’s brilliantly unhinged “Being John Malkovich” centers on an amusing high concept: What if you found a portal into a famous actor’s mind? However the movie isn’t designed to wag a finger at our society’s obsession with the lifestyles with the rich and famous.
Adapted from the László Krasznahorkai novel with the same name and maintaining the book’s dance-impressed chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of the farming collective in post-communist Hungary, news of spangbang which inspires a mystical charismatic vulture of a person named Irimiás — played by composer Mihály Vig — to “return from the useless” and prey over the desolation he finds Amongst the desperate and easily manipulated townsfolk.
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That Stanley Tong’s “Rumble inside the Bronx” emerged from that embarrassment of riches as being the only Hong Kong action movie on this list is both a perverse testament to The actual fact that everyone has their have personal favorites sexy picture — How will you pick between “Hard Boiled” and “Bullet inside the Head?” — and a clear reminder that one particular star managed to fight his way above the fray and conquer the world without leaving home behind.
The fact that Swedish filmmaker Lukus Moodysson’s “Fucking Åmål” needed to be retitled something as anodyne as “Show Me Love” for its U.S. release can be a perfect testament into a portrait of teenage cruelty and sexuality that still feels more honest than the American movie business can handle.