Gus Van Sant's Constant Thematic and Cinematic Elements
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.

A dramatization of the American general and his court martial for publically complaining about High Command's dismissal and neglect of the aerial fighting forces.
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.
A surprise sequel takes place ten years after the original movie based on the title of the same name, but with a twist to the fairy tale.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
Praising Black representation and condemning the power structures that suppress it, a mother delivers an impassioned speech to her distant son.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
'The Last Black Man in San Francisco' is part fiction, part documentary. Jimmie longs for the old Victorian home that he grew up in — the house that his grandfather built. However, this home is now in an overpriced, White, San Francisco neighborhood.