Dreyer’s “Gertrud,” like the various installments of “The Bachelor” franchise, found much of its drama merely from characters sitting on elegant sofas and talking about their relationships. “Flowers of Shanghai” achieves a similar impact: it’s a film about sex work that features no intercourse.

Almost 30 years later (with a Broadway adaptation from the works), “DDLJ” remains an indelible second in Indian cinema. It told a poignant immigrant story with the message that heritage is not really lost even thousands of miles from home, as Raj and Simran honor their families and traditions while pursuing a forbidden love.

Dee Dee is often a Excess fat, blue-coloured cockroach and seemingly the youngest from the three cockroaches. He is also among the main protagonists, appearing alongside his two cockroach gangs in every episode to wreck Oggy's day.

This sequel on the classic "we are definitely the weirdos mister" ninety's movie just came out and this time, on the list of witches is a trans girl of shade, played by Zoey Luna. While the film doesn't live approximately its predecessor, it's got some exciting scenes and spooky surprises.

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

It was a huge box-office hit that earned 11 Oscar nominations, including Best Picture. Check out these other movies that were books first.

The ingloriousness of war, and the foundation of pain that would be passed down the generations like a cursed heirloom, may be seen even within the most unadorned of images. Devoid of even the tiniest bit of hope or humor, “Lessons of Darkness” offers the most chilling and powerful condemnation of humanity inside of a long career that has alway looked at us askance. —LL

The very premise of Walter Salles’ “Central Station,” an exquisitely porntrex photographed and life-affirming drama set during the same present in which it was shot, is enough to make the film sound like a relic of its time. Salles’ Oscar-nominated strike tells the story of the former teacher sparkbang named Dora (Fernanda Montenegro), who makes a living producing letters for illiterate working-class people who transit a busy Rio de Janeiro train station. Severe plus a bit tactless, Montenegro’s Dora is way from a lovable maternal figure; she’s quick to evaluate her clients and dismisses their struggles with arrogance.

While the trio of films that comprise Krzysztof Kieślowski’s “Three Colours” are only bound together by funding, happenstance, and a typical struggle for self-definition in a very chaotic fashionable world, there’s something quasi-sacrilegious about singling amongst them out in spite of the other two — especially when that honor is bestowed on “Blue,” the first and most severe chapter of the triptych whose final installment is usually considered the best amid 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 society whose interconnectedness was already starting to reveal its natural solipsism.

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From that rich premise, “Walking and Talking” churns into a characteristically low-essential but razor-sharp drama about the complexity of women’s internal lives, as The author-director brings such deep oceans of feminine specificity to her dueling heroines (and their palpable display chemistry) that her attention can’t help but cascade down onto her male characters as well.