amount of natural talent. However it’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible piece of work, it’s also the sheer generosity that Anderson shows to even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded on the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.
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More than anything, what defined the 10 years was not just the invariable emergence of unique individual filmmakers, but also the arrival of artists who opened new doors to your endless possibilities of cinematic storytelling. Directors like Claire Denis, Spike Lee, Wong Kar-wai, Jane Campion, Pedro Almodóvar, and Quentin Tarantino became superstars for reinventing cinema on their have terms, while previously established giants like Stanley Kubrick and David Lynch dared to reinvent themselves while the entire world was watching. Many of these greats are still working today, plus the movies are each of the better for that.
Queen Latifah plays legendary blues singer Bessie Smith in this Dee Rees-directed film about how she went from a battling young singer towards the Empress of Blues. Latifah delivers a great performance, and also the film is full of amazing music. When it aired, it had been the most watched HBO film of all time.
Opulence on film can sometimes feel like artifice, a glittering layer that compensates for a lack of ideas. But in Zhang Yimou’s “Raise the Red Lantern,” the utter decadence in the imagery is solely a delicious extra layer into a beautifully created, exquisitely performed and utterly thrilling piece of work.
The best from the bunch is “Last Days of Disco,” starring Chloe Sevigny and Kate Beckinsale as two modern grads working as junior associates at a publishing house (how romantic to think that was ever seen as such an aspirational career).
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But believed-provoking and just what made this such an intriguing watch. Could be the audience, along with the lead, duped by the seemingly innocent character, who's truth was a splendid actor already to begin with? Or was he indeed innocent, but learnt much too fast and far too well--ending up outplaying his teacher?
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Time seems to have stood still in this place with indianporn its black-and-white TV set and rotary phone, a couple of lonely pumpjacks groaning outside furnishing the only sounds or movement for miles. (A “Make America Great Again” sticker about the back of the beat-up vehicle is vaguely amusing but seems gratuitous, and it shakes us from the film’s foggy temper.)