The collapse of the Sicilian aristocracy, women’s robbery, suede fringed jacket or even a great classic anime, which can not be missed on Netflix.
cheetah Lucino Visconti (1963)
The triumph in Cannes, crowned with the Palme d’Or and immediately garnered critical and public acclaim, Visconti’s large and magnificent historical fresco, however, came under some attack. Some viewers see in the film’s academic shadows a rejection – if not betrayal – of Italy’s past neorealist manifestos. (Ossesion, Rocco and his brothers). Although it looks like a legacy film with outdated prestige, this is not the case: the director captures the source material of reality with always the same formidable sharpness that places him next to Proust as one of the greatest artists of the slow decline of the aristocratic world.
widows Steve McQueen (2018)
Without a doubt, Steve McQueen is a great formalist. Only in three films until 2018 (Famine, It’s a shame, 12 years of slavery), a British visual artist and director has created a work with a virtuoso and powerful aesthetics – for which, however, he is criticized for reworking some outdated clichés of auteur cinema (distancing, emotional icing). Attacking widows for the first time in genre cinema (a film about robbery), the director signs a dry and intense thriller, which preserves the extraordinary intensity of the production, while dropping the formalistic scale of the past.
Salt of the earth Wim Wenders and Juliano Ribeiro Salgado (2014)
A documentary about the photographer Sebastian Salgado, co-directed by Wim Wenders and Juliano Ribeiro Salgado, son of Sebastian, Salt of the earth glorifies all the magnificent beauty of the Brazilian artist’s work and gives a sharp account of the wars and sufferings that inhabit the world.
Deer Quentin Dupier (2019)
Now in theaters with his latest film Unbelievable, but true, Quentin Dupier created a unique and fruitful filmography in just a few years (five films made in four years). Paying tribute to Bunuel and Blier In the office! – even if it means the loss of the singularity – the director reconnected with his special strangeness in DeerJean Dujardin’s anxious and depressing comedy, which offers one of the most moving parts of his career.
The Florida Project Sean Baker (2017)
Discovered on Sundance with very promising Tangerinecontinues Sean Baker The Florida Project his study, as tender as the fierce one of America, was left behind. In this immersion in the heart of the family white garbage behind the scenes of Disney World in Orlando, the director with joyful sadness captures the disappointment of the American dream, that old mirage from another century.
Akira Katsuhiro Otomo (1988)
After its release in the summer of 2020, the cult film Otomo, released in 1988, comes to Netflix. A new acquisition that will allow the younger generation of anime fans to open this chapel of the genre, which combines in the same gesture incredible technical virtuosity for the time (without a doubt, the most fluid and concrete, never achieved at its release) to a particularly visionary post-apocalyptic picture of modernity.
loving Jeff Nichols (2016)
“What I like about John Ford’s work is that he always puts the character first.e », – Truffaut wrote. We could pay tribute to Jeff Nichols, who has the same attention and high regard for those he looks at. And especially in loving, his most classic work to date (in the sense: which continues the tradition of a certain classicism of the golden age of Hollywood). The director with great delicacy resumes the struggle in the 1950s of a black woman and a white man for the right to marry, and then refused a mixed couple in Virginia.
Spider-Man: The next generation Bob Persicetti and Peter Ramsey (2018) – From June 30
After a few tries the best (Raimi Trilogy) to the smallest (The Incredible Spider-Man)what we could expect‘new screen port of the adventures of Spider-Man? This difficult question will be answered by the animated film by Bob Persicetti and Peter Ramsey. Fear passed immediately Spider-Man: The next generation brazenly redistributes all the cards of mythology about the superhero in masks.
With a stunning formal ingenuity permeated by numerous ramifications and telescopy of the story, the film is a particularly comforting example of the work of a son who knew how to kill his father. In a landscape of blockbusters surrounded by reboots and sequels, the animated film by Bob Persicetti and Peter Ramsey offers an invigorating model. Hollywood probably needs more inspiration if it also wants to rise from the ashes.