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degree of natural talent. Nonetheless it’s not just the mind-boggling confidence behind the camera that makes “Boogie Nights” such an incredible piece of work, it’s also the sheer generosity that Anderson shows towards even the most pathetic of his characters. See how the camera lingers on Jesse St. Vincent (the great Melora Walters) after she’s been stranded at the 1979 New Year’s Eve party, or how Anderson redeems Rollergirl (Heather Graham, in her best role) with a single push-in during the closing minutes.

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In her masterful first film, Coppola uses the tools of cinema to paint adolescence being an ethereal fairy tale that is both ridden with malaise and as wispy for a cirrus cloud.

It’s now the fashion for straight actors to “go gay” onscreen, but rarely are they as naked (figuratively and otherwise) than Phoenix and Reeves were here. —RL

Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are some of the images that linger after you emerge from the trance cast by “The Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.

It’s no incident that “Porco Rosso” is about at the peak of the interwar period, the film’s hyper-fluid animation and general air of frivolity shadowed via the looming specter of fascism along with a deep feeling of future nostalgia for all that would be forfeited to it. But there’s also such a rich vein of exciting to it — this is really a movie that feels as breezy and ecstatic as traveling a Ghibli plane through a clear summer afternoon (or at least as ecstatic mainly because it makes that appear).

That question is key to understanding the film, whose hedonism is simply a doorway for viewers to step through in search of more sublime sensations. Cronenberg’s way is cold and medical, the near-regular fucking mechanical and indiscriminate. The only time “Crash” really comes alive is within the instant between anticipating Loss of life and escaping it. Merging sarah vandella that rush of adrenaline with orgasmic release, “Crash” takes the vehicle as a phallic image, its potency tied to its potential for violence, and redraws the boundaries of romance around it.

Tarr has never been an overtly political filmmaker (“Politics makes everything also very simple and primitive for me,” he told IndieWire in 2019, insisting that he was more interested in “social instability” and “poor people who never experienced a chance”), but revisiting the hypnotic “Sátántangó” now that Hungary is in the thrall of another authoritarian leader reflects both the recursive arc of current video sexy history, and the full power of Tarr’s sinister parable.

S. soldiers eating each other in a remote Sierra Nevada outpost during the Mexican-American War, as well as playobey sheer knockout last time that a Fox 2000 executive would roll as many as a established three weeks into production and abruptly replace the acclaimed Macedonian auteur she first hired for the position with the director of “Home Alone 3.” 

In combination with giving many viewers a first glimpse pronhub into urban queer culture, this landmark documentary about New York City’s underground ball scene pushed the Black and Latino gay communities for the forefront with the first time.

Newland plays the kind of games with his individual heart that one should never do: for instance, If your Countess, standing on the dock, will turn around and greet him before a sailboat finishes passing a distant lighthouse, he will drop by her.

There are manic pixie dream girls, and there are manic pixie dream girls. And then — 1,000 miles past the borders of “Elizabethtown” and “Garden State” — there’s Vanessa Paradis as a disaffected, suicidal, 21-year-outdated nymphomaniac named Advertèle who throws herself into the Seine for the start of Patrice Leconte’s romantic, intoxicating “The Girl on the Bridge,” only to get plucked from the freezing water by an unlucky knifethrower (Daniel Auteuil as Gabor) in need of a whole new ingenue to play the human target in his traveling circus act.

We asked for your movies that experienced them at “hello,” the esoteric picks they’ve never neglected, the Hollywood monoliths, the xvidoes international gems, the documentaries that captured time in a bottle, as well as the kind of blockbusters they just don’t make anymore.