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They toss a ball back and forth and dream of fleeing their small town to visit California, promising they’ll be “friends to the end,” and it’s the kind of intense bond best pals share when they’re tweens, before puberty hits and girls become a distraction.

The tale centers on twin twelve-year-old girls, Zahra and Massoumeh, who have been cloistered inside for nearly their entire lives. Their mother is blind and their father, concerned for his daughters’ safety and lack of innocence, refuses to let them outside of the padlock of their front gate, even for proper bathing or schooling.

This clever and hilarious coming of age film stars Beanie Feldstein and Kaitlyn Dever as two teenage best friends who elect to go to one last party now that high school is over. Dever's character has one of the realest young lesbian stories you'll see in a movie.

Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained towards the social order of racially segregated nineteen fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.” 

This stunning musical biopic of music and fashion icon Elton John is one of our favorites. They don't shy away from showing gay sex like many other similar films, and also the songs and performances are all top notch.

that attracted massive stars (including Robin Williams and Gene Hackman) and made a comedy movie killing at the box office. Within the surface, it might appear to be loaded with gay stereotypes, but beneath the broad exterior beats a tender heart. It had been directed by Mike Nichols (

When it premiered at Cannes in 1998, the film made with a $700 one particular-chip DV camera sent shockwaves through the film world — lighting a fire under the electronic narrative movement from the U.S. — while with the same time making director Thomas Vinterberg and his compatriot Lars Van Trier’s scribbled-in-45-minutes Dogme 95 manifesto into the start of a technologically-fueled film movement to get rid of artifice for art that established the tone for 20 years of minimal spending plan (and some not-so-very low budget) filmmaking.

Played by Rosario Bléfari, Silvia feels like a ’90s incarnation of aimless 20-something women like Frances Ha or Julie from “The Worst Individual from the World,” tinged with Rejtman’s standard brand of dry humor. When our heroine learns that another woman shares her name, it prompts an identity crisis of kinds, prompting her to curl her hair, don fake nails, and wear a fur coat to a meeting arranged between the two.

While the trio of films that comprise Krzysztof Kieślowski’s “Three Shades” are only bound together by financing, happenstance, and a typical wrestle for self-definition within a chaotic fashionable world, there’s something quasi-sacrilegious about singling among them out in spite in the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of the triptych whose final installment sexy video bf is commonly considered the best amongst equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a Culture whose interconnectedness was already starting to reveal its spank bang natural solipsism.

Emir Kusturica’s characteristic exuberance and porn stories frenetic pacing — which usually feels like Fellini on Adderall, accompanied by a raucous Balkan brass band — reached a fever pitch in his tragicomic masterpiece “Underground,” with that raucous Power spilling across the tortured spirit of his beloved Yugoslavia as being the country experienced through an extended duration of disintegration.

Tailored from the László Krasznahorkai novel of your same name and maintaining the book’s dance-influenced chronology, Béla Tarr’s seven-hour “Sátántangó” tells a Möbius strip-like story about the collapse of a farming collective in post-communist Hungary, news of which inspires a mystical charismatic vulture of a man named Irimiás — played by composer 3d porn Mihály Vig — to “return from the dead” and prey to the desolation he finds Amongst the desperate and easily manipulated townsfolk.

Despite criticism for its fictionalized account of Wegener’s story as well as casting of cisgender actor Eddie Redmayne inside the title role, the film was a crowd-pleaser that performed well on the box office.

His first feature straddles both worlds, exploring the conflict that he himself felt to be a young person in this lightly fictionalized version of his have story. Haroun plays himself, an up-and-coming Chadian film director based in France, who returns to his birth country to attend his mother’s funeral.

Ionescu brings with him not only a deft hand at running the farm, but also an intimacy and romanticism that forhertube is spellbinding not only for Saxby, though the viewers as well. It is really truly a must-watch.