Word: directoral
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Dates: during 1990-1999
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...such as "Fuck, Fuck, Fuck Me, Tim!" and "Sex Comes, Sex Goes." Rather, All About My Mother is Almodvar's exploration of the way "women faked, lied, hid and that way allowed life to flow and develop." This attempt to tackle the manipulation of reality won Almodvar the Best Director prize at Cannes...
...dream world of the next few scenes vanishes the next night, a rainy and cold evening and Esteban's birthday. Affonso Beato, director of photography, employs clever technique interposing dot matrix drawings of women in red over Manuela's image. Similarly, the night's coldness is reflected in camera angles of rain on the windows and fog in mirrors. One can almost feel the chill of the evening on one's shoulders. This clammy sensation follows the viewer as Manuel and Esteban observe a performance of Streetcar Named Desire, a play holding special significance to Manuela. Twenty years before, Manuela...
...Orrin Hatch complained that the format of the debate was too rigid. Candidates were allotted one minute to answer an initial question posed by the moderators, Karen Brown, news director for New Hampshire's only network affiliate, WMUR; and Brit Hume, an anchor for the Fox News Channel. Another 45 seconds were allotted to respond to a follow-up question. Candidates were not allowed to respond to each other directly...
...rights, Neil Jordan's new film, The End of the Affair, should be dazzling. So many of the pieces are in place--first-rate actors, a great wartime love story, a seasoned director (The Crying Game, Interview with the Vampire). But the inconsistently inspired director falters here, and what should percolate into a fine cinematic brew instead comes out as a disappointingly sludgy ode to what might have been a great work...
...expending most of its energy working through two major structural problems: an increasingly absurd plot and the difficulties of adapting a novel that consists primarily of first person interior narration. Jordan unadvisedly takes a literal approach here, employing the most drab, extensive set of voiceovers since the awful pre-director's cut version of Blade Runner. (Haven't seen it? Don't.) Fiennes, a subtle actor, is forced to explicitly identify every emotional state his character enters. Does Bendrix really need to tell us how "tortured" he feels when we can see for ourselves a miserable Fiennes gulping whiskey...