The result is undoubtedly an impressionistic odyssey that spans time and space. Seasons change as backdrops shift from cityscapes to rolling farmland and back. Areas are never specified, but lettering on signals and snippets of speech lend clues as to where Akerman has placed her camera on any given occasion.

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The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath of your girls — who walk with limps and have barely learned to speak — being permitted to wander the streets and meet other young children for your first time.

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The patron saint of Finnish filmmaking, Aki Kaurismäki more or less defined the country’s cinematic output during the 80s and 90s, releasing a gradual stream of darkly comedic films about down-and-out characters enduring the absurdities of everyday life.

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From the films of David Fincher, everybody needs a foil. His movies often boil down for the elastic push-and-pull between diametrically opposed characters who reveal themselves through the tension of whatever ties fkbae them together.

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” It’s a nihilistic schtick that he’s played up in interviews, in episodes of “The Simpsons,” and most of all in his possess films.

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 proof, just look at just how his characters worship each other in order to find themselves — from Ned Plimpton’s childhood obsession with Steve Zissou, towards the moderate awe that Gustave H.

With his third feature, the young Tarantino proved that he doesn’t need any gimmicks to tell a killer story, turning Elmore Leonard’s “Rum Punch” into a tight thriller anchored by a roxie sinner career-best performance from the legendary Pam Grier. While the film never tries to hide the fact that it owes as much to Tarantino’s love for Blaxploitation mainly because it does to his affection for Leonard’s resource novel, Grier’s nuanced performance allows her to show off a softer side that went criminally underused during her pimp-killing heyday.

Mambety doesn’t underscore his points. He lets Colobane’s turn toward mob violence come about subtly. Shots of Linguere staring out to sea combine beauty and malice like several things in cinema because Godard’s “Contempt.”