During the Great Depression, a con man finds himself saddled with a young girl who may or may not be his daughter, and the two forge an unlikely partnership.
On the Road captures the bleak, hyper-masculine world of long-haul trucking in Northern Mexico, where anything can and will happen. A hard-boiled, neon-noir romantic thriller, it shows the gritty reality of roadside diners, truck stops, and truck cemeteries alongside the expansive, breathless beauty of the Mexican desert highways.
On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf," but all the more insightful, and much more animalistic at its core.
A gentle coming of age story, Water Lilies takes its time in exploring what it’s like to be a young girl trying to make sense of her sexuality in a heteronormative world.
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.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.
Sweetheart provides a stark example of self-isolation taken to its extreme.
