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“You say on the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Indicating O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”
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This drama explores the internal and outer lives of various LGBTQ characters dealing with repression, despair and hopelessness across hundreds of years.
Assayas has defined the central dilemma of “Irma Vep” as “How could you go back towards the original, virginal energy of cinema?,” even so the film that question prompted him to make is only so rewarding because the answers it provides all manage to contradict each other. They ultimately flicker together in among the greatest endings in the 10 years, as Vidal deconstructs his dailies into a violent barrage of semi-structuralist doodles that would be meaningless if not for a way perfectly they indicate Vidal’s results at creating a cinema that is shaped — although not owned — by the past. More than 25 years later, Assayas is still trying to figure out how he did that. —DE
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The ’90s began with a revolt against the kind of bland Hollywood merchandise that people might kill to discover in theaters today, creaking open a small window of time in which a more commercially practical American impartial cinema began seeping into mainstream fare. Young and exciting directors, many of whom at the moment are big auteurs and perennial IndieWire favorites, were given the methods to make multiple films — some of them on massive scales.
This underground cult classic tells the story of the high school cheerleader who’s sent to conversion therapy camp after her family suspects free sex porn she’s a lesbian.
, future Golden World winner Josh O’Connor floored critics with his performance as being a young gay sheep farmer in Yorkshire, England, who’s struggling with his sexuality and budding feelings for any new Romanian migrant laborer.