New Queer Cinema — Haynes, Araki, Van Sant, and the 90s insurgency
B. Ruby Rich named it in 1992. Todd Haynes made Poison (1991) for nothing. Gregg Araki made The Living End (1992) about two HIV-positive men on a crime spree. Gus Van Sant's My Own Private Idaho (1991) put River Phoenix and Keanu Reeves on the streets of Portland. Derek Jarman in the UK. Rose Troche's Go Fish (1994). Cheryl Dunye's The Watermelon Woman (1996). These films refused to apologise, refused to explain, and changed what independent cinema could talk about.
Mommy
Good Will Hunting
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Portrait of a Lady on Fire
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Pride & Prejudice
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Before Sunrise
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Before Sunset
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Brokeback Mountain
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Mysterious Skin
The Bridges of Madison County
Groundhog Day
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Eat Drink Man Woman
All About My Mother
10 Things I Hate About You
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Love Don't Co$t a Thing
Talk to Her
Gattaca
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True Romance
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Moulin Rouge!
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Carol
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The Skin I Live In
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Volver
The Road Home
Bram Stoker's Dracula
Pretty Woman
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I Killed My Mother
Crouching Tiger, Hidden Dragon
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EverAfter
Sense and Sensibility
Summer of 85
Women on the Verge of a Nervous Breakdown
Otras colecciones canon
Japanese New Wave — the essentials
80s horror everyone has forgotten
Giallo — Italy's blood-red mystery genre
Korean cinema essentials beyond Parasite
Post-Soviet cinema — Russia & Eastern Europe after 1991
The Romanian New Wave
Essential anime that isn't Studio Ghibli
Slow cinema — the long-take canon
70s American paranoia — the post-Watergate canon
First features by directors who later mattered
Documentaries that hold up as cinema
Scandinavian noir beyond the Stieg Larsson franchises
Iranian new wave — Kiarostami, Farhadi, and the rest
Argentine cinema — beyond Wild Tales
British kitchen-sink and what it became
First features directed by cinematographers
German New Wave — Fassbinder, Herzog, Wenders, Schlöndorff
Hong Kong action — Woo, Lam, Tsui, To
Spaghetti westerns — Leone, Corbucci, Sollima, and the second tier
Mumblecore — the American indie movement nobody named
Czech New Wave — Forman, Chytilová, Menzel, before they fled
French New Wave — Godard, Truffaut, Varda, Rivette, Rohmer
Blaxploitation — Shaft, Pam Grier, and the 70s Black cinema boom
Dogme 95 — von Trier, Vinterberg, and the vow of chastity
Australian New Wave — Weir, Miller, Armstrong, Campion
African cinema — Sembène, Sissako, Mambéty, and beyond
Italian neorealism — the rubble and the real
Commedia all'italiana — Italy laughing at itself
German expressionism — shadows, angles, madness
Taiwanese New Cinema — Hou, Yang, Tsai, and the island's quiet revolution
Wuxia and martial arts — flying swords, hidden masters