Elsewhere, a group of men, visually coded as old-school stoner types, drive around ready to raise hell, which also doesn’t come to pass. From that scene on, Dating Amber rather seamlessly strips itself of its hyperbolic affectations to reveal a heartbreaking story of emancipation through friendship. For some people, it doesn’t. Daniel Nolasco’s Dry Wind and Gil Baroni’s Alice Júnior, both screening in the international section at this year’s NewFest, are refreshing in no small part because they find two Brazilian filmmakers telling stories set in regions of their country that are cinematically underrepresented and largely unknown to international audiences. (At the end of the book are several essential interviews with key Anderson collaborators, such as producer JoAnne Sellar, cinematographer Robert Elswit, production designer Jack Fisk, and composter Johnny Greenwood.) Amid proceedings unfolding in 1885 London, Charity eventually explains to a key character that he and his friends, the married Charles and Catherine Mundi (Ioan Gruffudd and Keeley Hawes), are members of the Bureau of Antiquities, an organization that protects artifacts like the precious Midas Box, which a man named Luger (Sam Neill) hopes to use for Very Bad Purposes. This means some of the plot doesn’t feel credible, as Alice masters LGBTQ resistance discourse perfectly in her interactions both on and offline, but prefers pissing her pants during a class exam, which naturally becomes a viral video, than demanding her right to use the women’s restroom. Nolasco alternates between explicitly sexual, neon-colored sequences that veer toward complete dreamscapes and the kind of European-film-festival-courting realism that Brazilian cinema is known for. My work always starts with a series of questions, and the answers come out of conversations that are happening with people in my community are what inform a lot of the aesthetic choices. The essential valorizing of Jack Horner, the paternal porn director of Boogie Nights, eventually gives way to the richer, more fraught examinations of obsessive pseudo-father figures like Daniel Plainview, Lancaster Dodd, and Reynolds Woodcock, of There Will Be Blood, 2012’s The Master, and Phantom Thread, respectively. It’s an attractive and fairly shallow bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion. Most immediately, it’s a pure, visceral pleasure simply to read Nayman’s descriptions of imagery. Control is the theme of Masterworks. Freyne manages to indict the societal expectation of heterosexuality as a traumatizing force while also humanizing its straight victims. I think, at that point, my head was really about, again, extending the conversation in a way that showed the diversification of experience within the same issue. Nayman’s discussion of Anderson’s ellipses—especially the bold leap 15 years in time near the end of There Will Be Blood as well as the two-year jump near the beginning of the filmmaker’s 1996 feature directorial debut, Hard Eight—implicitly cuts to the heart of why some critics and audiences resist Anderson’s work. Similarly, Luger's grinchiest henchmen are named Grimm and Grendel. Alice is at once a naïve little girl yearning for her first kiss from a boy and a queer activist with an arsenal of didactic one-liners at the ready. No critic has written so perceptively about Anderson’s mutating aesthetic as Nayman does in Masterworks. “Anywhere!” Amber tells Eddie when he asks her where he could escape to. Soon, Dennis’s 18-year-old daughter, Brianna (Ally Ioannides), pops the drug at a party and disappears, trapped in history, a damsel in distress held captive by time itself. She keeps on singing, rocking Eddie as if casting a queer spell, or baptizing the “baby gay,” as she calls him. When cut between commonplace scenes of Fox interfacing with the bureaucratic maze of the carceral state, the rushes of her past feel both tantalizingly close and also impossible to reclaim—all while her future with Robert appears indeterminate. This newfound state of near-deafness thrusts Ruben suddenly into a transitional phase, and Sound of Metal is in lockstep with him, using intricate sound design to approximate his nightmare state and amplify the confusion, anger, and disorientation that grips him. And as it turns out, the weaves are also alive, and they’re literally out for blood, at least those being offered at a mysterious salon where Anna, looking to make her mark on Cult as a VJ, is sent to by Zora. In The Adventurer: The Curse of the Midas Box seventeen-year-old Mariah Mundi's life is turned upside down when his parents vanish and his younger brother is kidnapped. In THE ADVENTURER: THE CURSE OF THE MIDAS BOX, seventeen-year-old Mariah Mundi's life is turned upside down when his parents vanish and his younger brother is kidnapped. Amber’s father, for one, took his own life, and ever since then she’s been charging her classmates to use her family’s caravan as a place to have sex, so she can save enough money and move to London and work for a punk zine. The pastels are traded in for industrial nighttime hues, and cellphones and other modern bric-a-brac are suddenly visible, while the posh suburban neighborhoods, with their kids who can afford to go to dances that whisk them off to neverland, are traded in for strip malls with disaffected teens and working-class parents who’re pushed by their disadvantaged children to the brink of insanity. There’s no separation between that and the system. "The Adventurer: The Curse of the Midas Box" introduces us to Mariah Mundi. Riley’s rakish gleam is similarly energizing, particularly when the story turns into a late-developing courtroom drama about how or even if Rebecca died. Synopsis But even as I was being figuratively pummeled with the aforementioned quality, I couldn't get mad at "The Adventurer." At times she’s a woke warrior, and at times she’s a helpless little girl. Her tics pile up enough to add an extra five minutes to a runtime that feels never-ending. She’s riddled with class anxiety, not knowing when she will next offend Manderly’s icy housekeeper, Mrs. Danvers (Kristin Scott Thomas), the platoon of servants and other staff needed to run the massive complex, or her new husband. That was me really having questions about classic American cinema and race relations between women. Steve (Anthony Mackie) is a hard-living EMT in New Orleans. I struggled with this question a little bit. After being sentenced to a gulag for disgracing his country with his prior film, Borat is offered by former Kazakh President Nursultan Nazarbayev (Dani Popescu) a chance to redeem himself by traveling to America and gifting Vice President Mike Pence with the locally famous simian porn star Johnny the Monkey. While Max doesn’t say such things openly to his young bride, his simmering rages and habit of sleepwalking at night to stare wistfully at Rebecca’s now closed-off quarters suggest his still being in the grip of an undying passion. She was 18 years into the process of navigating the system, whereas Aloné was in the very beginning stages of that. Helping him in his quest is a puckish fellow named Charity (Michael Sheen). Masterworks moves us forward in the timeline of Anderson’s America while the filmmaker himself leaps all over the place in terms of artistic control. Justin Benson and Aaron Moorhead built alluringly mysterious worlds in films like Resolution and The Endless. David Freyne manages to indict the societal expectation of heterosexuality as a traumatizing force while also humanizing its straight victims. About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes. Their tendrils seek out oozing orifices, and their roots plant hunger in the brains of the afflicted while manifesting strange dreams. The solution is obvious: to present Pence with his underage daughter instead—which he does, albeit from a distance, dressed as Donald Trump while Pence delivers a speech at the Conservative Political Action Conference.
Later on, Joe tells Ruben that “those moments of stillness, that place, that’s the kingdom of God.
At least from a filmmaker’s perspective, you’ve got all sorts of reasons why, eventually, you have to walk away from production. Cast: Sacha Baron Cohen, Maria Bakalova Director: Jason Woliner Screenwriter: Peter Baynham, Sacha Baron Cohen, Jena Friedman, Anthony Hines, Lee Kern, Dan Mazer, Erica Rivinoja, Dan Swimer Distributor: Amazon Studios Running Time: 96 min Rating: R Year: 2020.
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