Half-brothers Yan Jun and Yan Qing share a bond of deep respect and affection, yet their mother openly favors Yan Jun. Following a matchmaker's advice, a "joy-bringing" marriage is arranged for sickly Yan Jun. To spare his brother, Yan Qing steps in as the groom. This remarkable film unites two legendary performers of Chinese opera cinema: Ling Po and Yang Li-hua, both are celebrated for their iconic male roles played by women. It also marked Yang Li-hua's final film performance and represents the last traditional Huangmei opera film ever made, closing a significant chapter in Chinese cinema history.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.
