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To anyone acquainted with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, not to mention the depressive anguish that compelled Shinji’s real creator to revisit the kid’s ultimate choice — Anno’s “The top of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-monitor meditation around the upside of suffering. It’s a self-portrait of the artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
A.’s snuff-film underground anticipates his Hollywood cautionary tale “Mulholland Drive.” Lynch plays with classic noir archetypes — namely, the manipulative femme fatale and her naive prey — throughout the film, bending, twisting, and turning them back onto themselves until the nature of identity and free will themselves are called into concern.
The film’s neon-lit first part, in which Kaneshiro Takeshi’s handsome pineapple obsessive crosses paths with Brigitte Lin’s blonde-wigged drug-runner, drops us into a romantic underworld in which starry-eyed longing and sociopathic violence brush within centimeters of each other and eliminate themselves while in the same tune that’s playing about the jukebox.
To such uncultured fools/people who aren’t complete nerds, Anno’s psychedelic film might seem like the incomprehensible story of a traumatized (but extremely horny) teenage boy who’s compelled to sit inside the cockpit of a major purple robot and choose whether or not all humanity should be melded into a single consciousness, or If your liquified red goo that’s left of their bodies should be allowed to reconstitute itself at some point while in the future.
The ‘90s included many different milestones for cinema, but Potentially none more needed or depressingly overdue than the first widely dispersed feature directed by a Black woman, which arrived in 1991 — almost one hundred years after the advent of cinema itself.
This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock acquire moriah mills over his crush. Things get complicated, even though, when she develops feelings for that same girl. Charming and authentic, it will end up on your list of favorite Netflix romantic movies in no time.
The very premise of Walter Salles’ “Central Station,” an exquisitely photographed and life-affirming drama established during the same present in which it absolutely was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated strike tells the story of the former teacher named Dora (Fernanda Montenegro), who makes a living producing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe as well as a little bit tactless, Montenegro’s Dora is much from a lovable maternal figure; she’s quick to guage her clients bdsmstreak and dismisses their struggles with arrogance.
As authoritarian tendencies are seeping into politics on a global scale, “Starship Troopers” paints shiny, ugly insect-infused allegories on the dangers of blind adherence as well as the power in targeting an easy enemy.
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Hayao Miyazaki’s environmental anxiety has been on full display since before Studio Ghibli was even born (1984’s “Nausicaä of the Valley of your Wind” predated the animation powerhouse, even mainly because it planted the seeds for Ghibli’s future), but it really wasn’t until “Princess Mononoke” that he specifically asked the dilemma that percolates beneath all of his work: How can you live with dignity in an irredeemably cursed world?