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Even more acutely than both of the films Kieślowski would make next, “Blue” illustrates why none of us is ever truly alone (for better worse), and then mines a powerful solace from the cosmic mystery of how we might all mesh together.

, John Madden’s “Shakespeare in Love” can be a lightning-in-a-bottle romantic comedy sparked by one of the most confident Hollywood screenplays of its 10 years, and galvanized by an ensemble cast full of people at the peak of their powers. It’s also, famously, the movie that beat “Saving Private Ryan” for Best Picture and cemented Harvey Weinstein’s reputation as on the list of most underhanded power mongers the film business had ever seen — two lasting strikes against an ultra-bewitching Elizabethan charmer so slick that it still kind of feels like the work with the devil.

by playing a track star in love with another woman in this drama directed by Robert Towne, the legendary screenwriter of landmark ’70s films like Chinatown

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That’s not to mention that “Fire Walk with Me” is interchangeable with the show. Jogging over two hours, the movie’s best sex videos mood is way grimmer, scarier and — within an unsettling way — sexier than Lynch’s foray into broadcast television.

While the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by funding, happenstance, and a standard wrestle for self-definition in a very chaotic modern-day world, there’s something quasi-sacrilegious about singling considered one of them out in spite on the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of a ullu videos triptych whose final installment is frequently considered the best amongst equals. Each of Kieślowski’s final three features stands together By itself, and all of them are strengthened by their shared fascination with the ironies of a Modern society whose interconnectedness was already starting to reveal its natural solipsism.

Depending on which Minimize the thing is (and there are at least five, not including enthusiast edits), you’ll get yourself a different sprinkling of all of these, as Wenders’ original version was reportedly 20 hours long and took about ten years to make. The 2 theatrical versions, which hover around three hours long, were poorly received, plus the film existed in various ephemeral states until the 2015 release with the recently restored 287-minute director’s cut, taken from the edit that Wenders and his editor Peter Przygodda set together themselves.

Pissed off via the interminable post-production of “Ashes of Time” and itching to receive out from the enhancing room, Wong Kar-wai strike the streets of Hong Kong and — within a blitz of pent-up creative imagination xx video — slapped together among the list of most earth-shaking films of its decade in less than two months.

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