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— and it hinges on an unlikely friendship that could only exist within the movies. It’s the most Besson thing that is, was, or ever will be, and it also happens to be the best.

To anyone acquainted with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, as well as the depressive anguish that compelled Shinji’s true creator to revisit the kid’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-monitor meditation on the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails. 

Some are inspiring and assumed-provoking, others are romantic, funny and just simple exciting. But they all have 1 thing in common: You shouldn’t miss them.

Other fissures emerge along the family’s fault lines from there as the legends and superstitions of their earlier once again become as viscerally powerful and alive as their difficult love for each other. —RD

Like many from the best films of its ten years, “Beau Travail” freely shifts between fantasy and reality without stopping to recognize them by name, resulting in a very kind of cinematic hypnosis that audiences had rarely seen deployed with such secret or confidence.

'Tis the year to stream movies until you feel the weary responsibilities of the world fade away so you finally feel whole again.

the 1994 film that was primarily a showcase for Tom Hanks as a person dying of AIDS, this Australian drama isn’t about just one man’s stress. It focuses over the physical and psychological havoc AIDS wreaks with a couple in different stages of your illness.

The relentless nihilism of Mike Leigh’s “Naked” could be a hard capsule to swallow. Well, less a capsule than a glass of acid with rusty blades for ice cubes. David Thewlis, in a very breakthrough performance, is over a dark night of your soul en route to the top of the world, proselytizing darkness to any poor soul who will listen. But Leigh makes the journey to hell thrilling enough for us to glimpse heaven on just how there, his cattle prod of a film opening with a sharp shock as Johnny (Thewlis) is pictured raping a woman in the dank Manchester alley before he’s chased off by her family and flees into a crummy corner of east London.

A single night, the good Dr. Invoice Harford may be the same toothy and self-confident Tom Cruise who’d become the face of Hollywood itself while in the ’90s. The next, he’s fighting back flop sweat as he gets lost from the liminal spaces that he used to stride right through; the liminal spaces between yesterday and tomorrow, public decorum and private decadence, affluent social-climbers plus the sinister ultra-rich they serve (masters on the universe who’ve fetishized their role inside our plutocracy towards the point where they can’t even throw a straightforward orgy without turning it into a bangladeshi blue film semi-ridiculous “Slumber No More,” or get themselves off without putting the dread of God into an uninvited guest).

A poor, overlooked movie obsessive sara jay who only feels seen from the neo-realism of his country’s nationwide cinema pretends to get his favorite director, a farce that allows Hossain Sabzian to savor the dignity and importance that Mohsen Makhmalbaf’s films experienced allowed him to taste. When a Tehran journalist uncovers the ruse — the police arresting the harmless impostor while he’s inside the home of the affluent Iranian family where he “wanted to shoot his next film” — Sabzian arouses the interest of a (very) different neighborhood auteur who’s fascinated by his story, by its inherently cinematic deception, and via the counter-intuitive risk that it presents: If Abbas hot schedules Kiarostami staged a documentary around this gentleman’s fraud, he could effectively cast Sabzian since the lead character of the movie that Sabzian experienced always wanted someone to make about his suffering.

A moving tribute into the audacious spirit of African filmmakers — who have persevered despite an absence of infrastructure, a dearth of enthusiasm, and important little with the regard afforded their European counterparts — “Bye Bye Africa” is also a film of delicately profound melancholy. Haroun lays bear his very own feeling of displacement, as he’s unable to suit in or be fully understood no matter where He's. The film ends in a chilling moment that speaks to his loneliness by relaying an easy emotional truth in a striking image, a signature that has led to Haroun setting up among the list of most significant filmographies over the planet.

More than just a breakneck look inside the porn market because it struggled to acquire over the hump of home video, “Boogie Nights” is really a story about a magical valley of misfit toys — action figures, to be specific. All of these horny weirdos have been cast out from their families, all of them are looking for surrogate relatives, and all of them have followed the American Dream on the same ridiculous place.

Stepsiblings Kyler Quinn and Nicky Rebel reach their hotel room while on vacation and discover that they acquired the room with one particular bed instead of two, so they turn out having to playobey sheer knockout share.

Slice together with a degree of precision that’s almost entirely absent from the remainder of Besson’s work, “Léon” is as surgical as its soft-spoken hero. The action scenes are crazed but always character-driven, the music feels like it’s sprouting right from the drama, and Besson’s eyesight of the sweltering Manhattan alexis texas summer is every little bit as evocative as the film worlds he designed for “Valerian” or “The Fifth Aspect.