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In classic Pedro fashion, the film feels like a series of vignettes, each more poignant than the next, that are as indelibly linked as moments in a life.
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Draped in a mouth-watering Almodovar wardrobe full of to-die-for color-blocked vintage shirts, Banderas plays the Spanish filmmaker with a gentle warmth, underpinned by the low hum of mortality anxiety. This time, Banderas had to play a loosely fictionalized version of his beloved friend and collaborator - warts and all. JDįor their seventh film together, Antonio Banderas did more than reunite with Pedro Almodovar, whose films launched his career nearly four decades ago. 2017 delivered a bevy of films that make poetry out of the complexity of the LGBTQ experience, but “BPM,” with its unadorned queerness and humanizing view of gay history’s most harrowing chapter, takes the cake. Its two hours and 20 minutes fly by, as the film sweeps you up in the chaos and urgency of its world - one where its characters must constantly keep moving just to stay afloat.
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The film exists mainly within the framework of ACT UP: chaotic meetings and heated debates about everything from Pride slogans to pharmaceutical companies, nerve-wracking direct actions involving fake blood balloons and free condoms, and a tender love story.
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The movie positions the viewer in the midst of a group of young activists running ACT UP Paris, the AIDS advocacy group originally started by Larry Kramer in New York City in 1987. Campillo writes from his real life experience, turning a painful history into a moving and often joyous work of art that bears witness to the past while offering the current generation a seat at the table. In this Palme d’Or contender (France’s Oscar submission), Robin Campillo tells the story of ACT UP Paris with equal parts humor, joy, and reverence - just as he lived it. “A Fantastic Woman” proved instrumental in Chile in lifting entrenched discrimination against trans people, and has also made Vega one of the most influential trans women in the world. Starring Daniela Vega, it’s also a radical story about a transgender woman, named Marina, who bravely stands up to overbearing scrutiny from her recently dead partner’s surviving family members, who insist they don’t owe her anything. Sebastián Lelio’s 2017 “A Fantastic Woman” brought the Chilean filmmaker international renown when it won the Academy Award for what was then known as Best Foreign Language Film.
'Dykes, Camera, Action!' Review: A Peppy, If Pithy History of Lesbian Cinemaįrom 'Nymphomaniac' to 'Shortbus,' a History of Unsimulated Sex Scenes in 32 FilmsĮmmy Predictions: Outstanding Supporting Actor in a Comedy Series It’s also a sign of things to come - with “Carol,” Haynes solidified his ability to bring a fresh perspective to gay identity in earlier periods of American history, but “Far From Heaven” was the first proof of his brilliant capacity to meditate on the past through a searing contemporary lens. The movie doesn’t just pay homage to classic melodramas - it uncovers their capacity to tap into the cracks in the American dream, revealing the grand tragedy of a repressive society lost in its fantasies until they’re forced to the surface by virtue of desires that refuse to stay down. Haynes had previously toyed with revitalizing classic film tropes in a queer context with “Poison,” but “Far From Heaven” marks a landmark shift for the director. Todd Haynes was already one of America’s greatest queer filmmakers when he made this evocative riff on Douglas Sirk melodramas, with Julianne Moore and Dennis Quaid as suburban middle-class family in the ‘50s coming to grips with Quaid’s closeted sexuality and the way it bears down on the family’s future. “Pariah” was slightly ahead of its time, but as Rees’ star continues to rise, it has finally gotten its due. The movie pulses with the rhythm of first love and the cost of self-discovery.
Cinematographer Bradford Young (“Arrival”) films Alike’s first nights out at the club in rich, saturated colors. We melt alongside her as she lights up with the first tingles of love, seeing herself as desirable for the first time through the sparkling eyes of Bina (Aasha Davis).
We witness Alike quietly change out of her baseball hat and t-shirt on the train home to Brooklyn, donning a girly sweater in order to calm her parents’ suspicions (Kim Wayans and Charles Parnell). Humming with the electricity of repressed sexuality finally unbridled, “Pariah” follows teenage Alike (Adepero Oduye) on a journey towards queerness and masculine gender expression. Dee Rees’ first feature is a gracefully rendered coming-of-age story that draws inspiration from her own.