In the Seventies, Djouhra Abouda developed a cinematographic project in the labs of the Université de Vincennes in Paris with the architect Alain Bonnamy. Together, they produced various experimental films in 16mm “conceived as kaleidoscopic assemblages grounded on a musical paradigm” (Bouhours).
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.
'Yes, God, Yes (2019)' is a coming-of-age tale about a Christian teenage girl discovering her sexuality, the turbulence that comes with it from within herself, and the judgment from those around her.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
t’s relatable and heartbreaking all at once, and it’s impossible to watch Happy Together without reflecting on oneself. The film is stunning in every aspect, and is a vital piece of LGBTQ cinema.
