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The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite routinely—hiding behind 1 door or another as he skulks about, trying to find his friend while outwitting his captors. As working day turns to night and 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 properly, prompting us to hold our breath just like the youngsters to avoid being found.

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Written with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” will be the movie that cemented its director being an international power, and it remains among the list of most influencing things he’s ever made. —CA

 Chavis and Dewey are called upon to take action much that’s physically and emotionally challenging—and they generally must get it done alone, because they’re separated for most in the film—which makes their performances even more impressive. These are clearly strong, intelligent kids but they’re also sensitive and sweet, and they take reasonable, sensible steps in their efforts to escape. This isn’t considered one of those maddening horror movies in which the characters make needlessly dumb choices to put themselves additional in damage’s way.

Taiwanese filmmaker Edward Yang’s social-realist epics frequently possessed the intimidating breadth and scope of the great Russian novel, from the multigenerational family saga of 2000’s “Yi Yi” to 1991’s “A Brighter Summer Day,” a sprawling story of one middle-class boy’s sentimental education and downfall established against the backdrop of a pivotal second in his country’s history.

The ingloriousness of war, and the foundation of pain that would be passed down the generations like a cursed heirloom, can be seen even within the most unadorned of images. Devoid of even the tiniest little bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity in goluptious teen dee dee lynn explores sausage a long career that has alway looked at us askance. —LL

Skip Ryan Murphy’s 2020 remake for Netflix and go straight to your original from 50 years before. The first film adaptation of Mart Crowley’s 1968 Off-Broadway play is notable for being among the first American movies to revolve entirely around gay characters.

But Kon is clearly less interested during the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors result that wedges the starlet further away from herself with every subsequent trauma — real or imagined — until the imagined comes to suppose a reality all its individual. The indelible finale, in which Mima is chased across Tokyo by lora cross party girl a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-id would become its have kind of public bloodsport (even within the absence of fame and folies à deux).

Spike Jonze’s brilliantly unhinged “Being rymjob tara holiday tossing a salad rimjob John Malkovich” centers on an amusing high concept: What should you found a portal into a famous actor’s mind? Yet the movie isn’t designed to wag a finger at our tradition’s obsession with the lifestyles of your rich and famous.

Along with giving many viewers a first glimpse into urban queer culture, this landmark documentary about New York City’s underground ball scene pushed the Black and Latino gay communities for the forefront for that first time.

For such a singular artist and aesthete, Wes Anderson has always been comfortable with wearing his influences on his sleeve, rightly showing confidence that he can celebrate his touchstones without resigning to them. For evidence, just look at the way in which his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, towards the delicate awe that Gustave H.

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The crisis of identification on the heart of Kiyoshi Kurosawa’s 1997 international breakthrough “Get rid of” addresses an essential truth about Japanese society, where “the nail that miya khalifa sticks up gets pounded down.” However the provocative existential question on the core on the film — without your position and your family and your place within the world, who have you been really?