This 2002 provocation from director-writer Catherine Breillat is so perversely enjoyable it gives the lie to her image as a serious, politically incorrect purveyor of pornographic instincts.
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This wacky Hong Kong comedy (2001) ran 111 minutes in its initial Asian release, but Miramax Films deleted 24 of them and rewrote the subtitles for its domestic rollout.
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Buster Keaton's beautiful 1928 comedy equates parental rejection with the most violently destructive forces of nature; behind the elegant slapstick is an eloquent fable of survival.
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Heading home from a party one Friday night, semicloseted Russell (Tom Cullen) stops off at a gay bar, where he picks up the direct, proudly out Glen (Chris New).
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Samuel Fuller's 1982 masterpiece about American racism—his last work shot in this country—focuses on the efforts of a black animal trainer (Paul Winfield) to deprogram a dog that has been trained to attack blacks.
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In a fictional African country, a helicopter hovers over a French coffee plantation, bringing news to the stubborn white owner (Isabelle Huppert) that France is pulling out and leaving the country to civil war; refusing to evacuate until her crop has been harvested, she takes her chances with the rebel army and its child soldiers.
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To quote the Argentinean film critic Quintin, the subject of South Korean filmmaker Hong Sang-soo (The Day a Pig Fell Into the Well, Turning Gate) is “the microphysics of relations, the deconstruction of love and sex,” and though Hong lacks the usual fashionable cynicism, his work is infused with a bittersweet melancholy.
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Like Gus Van Sant's Elephant, this 2002 feature presents a fictionalized version of the Columbine massacre with teenage actors using their own given names.
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