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Carl Theodor Dreyer’s classic tale of the trial of Joan of Arc is somehow both austere and maximalist. The director shows restraint with setting and scope; the film focuses largely on the back-and-forth between Joan and her inquisitors. But the intense close-ups give free reign to Maria Falconetti’s marvelously expressive turn as the doomed Maid of Orleans. Made at the close of the silent era, it set new standards in screen acting. Popcorn pictures hit hyperdrive after George Lucas unveiled his intergalactic Western, an intoxicating gee-whiz space opera with dollops of Joseph Campbell–style mythologizing that obliterated the moral complexities of 1970s Hollywood.

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Sofia Coppola’s second film feels like one of cinema’s great romances, despite nothing traditionally romantic happening in it. Bill Murray is a washed-up American actor reduced to shooting ads for Japanese whisky in Tokyo while his marriage grows cold back home. One jetlagged night in the hotel bar, he meets a young newlywed (Scarlett Johansson) already growing disillusioned with her own marriage. They bond over their shared alienation, have some drinks and spend one eventful evening out on the town, singing karaoke.

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As Phantom Thread makes clear, Anderson hasn’t lost his sense of humor, not by a long shot. But there once was a moment when he needed to get serious, and this is it. watch free movies allows you to stream online movies (even games!) with whomever you please. It’s important to note that the service is free with Tubi and YouTube.

That’s what makes it such a powerful, enduring landmark in humanist cinema. You can feel it in virtually every social drama you care to mention, from Ken Loach to Kelly Reichardt. Anyone who watched In The Mood for Love when it was released in 2000 may have said yes. The second this love story opens, you sense you are in the hands of a master. Wong Kar-wai guides us through the narrow streets and stairs of ’60s Hong Kong and into the lives of two neighbors (Maggie Cheung and Tony Leung) who discover their spouses are having an affair.

Based on the true life of mobster Henry Hill, Goodfellas was born in the shadow of The Godfather, but as the years go on, the question of which is more influential becomes mostly a matter of generation. Certainly, the former is more easily rewatchable, owing to its breakneck pacing – its two and a half hours (and three decades) just whiz by. And for a movie about violent career criminals, it’s also strangely relatable. Where Coppola went inside the walls of organised crime’s one percent, Scorsese’s gangsters are more blue collar.

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More hypnotic than you may realize, Akerman’s uninterrupted takes turn the simple acts of dredging veal or cleaning the bathtub into subtle critiques of moviemaking itself. (Pointedly, we never see the sex work Jeanne schedules in her bedroom to make ends meet.) Lulling us into her routine, Akerman and actor Delphine Seyrig create an extraordinary sense of sympathy rarely matched by other movies. Jeanne Dielman represents a total commitment to a woman’s life, hour by hour, minute by minute. watch movies online didn’t finish Drive My Car, or the stupid new The Batman, in one go, or two.