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What happens when two hustlers strike the road and one among them suffers from narcolepsy, a rest disorder that causes him to abruptly and randomly fall asleep?

To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe uncertainties of self-worth, not forgetting the depressive anguish that compelled Shinji’s genuine creator to revisit the kid’s ultimate choice — Anno’s “The End 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. 

It’s intriguing watching Kathyrn Bigelow’s dystopian, slightly-futuristic, anti-police film today. Partly because the director’s later films, such as “Detroit,” veer thus far away from the anarchist bent of “Weird Days.” And yet it’s our relationship to footage of Black trauma that is different too.

In her masterful first film, Coppola uses the tools of cinema to paint adolescence as an ethereal fairy tale that is both ridden with malaise and as wispy like a cirrus cloud.

Hopkins’ Hannibal Lecter is amongst the great villains in film history, pairing his heinous acts with just the right degree of warm-nevertheless-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game with the ages. The film needed to walk an extremely delicate line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were in the position to do precisely that.

Duqenne’s fiercely identified performance drives every body, as being the restless young Rosetta takes on challenges that nobody — Permit alone a baby — should ever have to face, such as securing her next meal or making sure that she and her mother have running water. Eventually, her learned mistrust of other people leads her to betray the one particular friend she has in an effort to steal his position. While there’s still the faintest light of humanity left in Rosetta, much of it's been pounded out of her; the film opens as she’s being fired from a factory task from which she needs to be dragged out kicking and screaming, and it ends with her in much the same state.

This Netflix coming-of-age gem follows a shy teenager as she agrees to help a jock win over his crush. Things get complicated, even though, when she develops feelings with the same girl. Charming and genuine, it will end up on your list of favorite Netflix romantic movies in no time.

A cacophonously intimate character study about a woman named Julie (a 29-year-previous Juliette Binoche) who survives the car crash that kills her famous composer husband and their innocent young daughter — and then tries to cope with her loss by dissociating from the life she once shared with them — “Blue” devastatingly sets the tone for any trilogy that’s less interested in “Magnolia”-like coincidences than in refuting The thought that life is ever as understandable as human subjectivity (or that of lady gang piss gangbang anal a film camera) can make it appear.

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Mahamat-Saleh Haroun is among Africa’s greatest living filmmakers, and while he sets many his films in his native Chad, a few others look at Africans having difficulties in France, where he has settled for most of his adult life.

“Earth” uniquely examines the split between India and Pakistan through the eyes of a kid who witnessed the old India’s multiculturalism firsthand. Mehta writes and directs with deft control, distilling the films darker themes and intricate dynamics without a heavy hand (outstanding performances from Das, Khan, and Khanna all contribute on the unforced poignancy).

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A crime epic that will likely stand because the pinnacle accomplishment and clearest, nevertheless most complex, expression on the great Michael Mann’s cinematic vision. There are so many sequences of staggering filmmaking accomplishment — the opening eighteen-wheeler heist, Pacino realizing they’ve been made, youporm De Niro’s glass seaside home and his first evening with Amy Brenneman, the shootout downtown, the climatic mano-a-mano shootout — that it’s hard to believe it’s goluptious teen dee dee lynn explores sausage all within the same film.

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