The two friends meet Napoleon, Billy the Kid, Sigmund Freud, Joan of Arc, and many others, but few jokes are spun directly off of these interactions. Perhaps the sign represents the pervasive gaze of the film’s youth. The titles below (all presently streaming on Netflix) have shown us utopias, dystopias, distant planets, and our own Earth destroyed. But two complications arise: The home is populated almost entirely by elderly women, whom Sergio intimates mostly look the same to him, and many of these lonely women quickly develop an attachment to the healthy-seeming, smartly dressed, and chivalric newcomer. Most of these memories center on Jake’s failure to defend himself intellectually and emotionally, to the young woman and to his broadly ghoulish Mother and Father, who, in the film’s middle section, obliterate his initial façade as a thoughtful academic in the making. Carmelo posits a moral hierarchy to suffering when he befriends a young boy, Big Eyes, whose father has abandoned him in the town center. If you find something that works (or verify it doesn't work) please reply. Though Brian De Palma had directed several accomplished features before it, The ticking of multiple clocks overlapping with a series of loud gongs introduces Guillermo del Toro’s debut feature, Henri-Georges Clouzot was somehow a realist and expressionist in roughly disconcertingly equal measure. It’s not for nothing that Henry is made to have no voice, as Hardcore Henry’s unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness. Through its depiction of Pepe’s rebirth as a figurehead of social and political justice and Furie’s eventual embrace of a more active role against the toxic weaponization of his work, The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Kaufman has thought it to death.The notion of a road trip as a springboard for a lonely intellectual’s existential crisis brings to mind Ingmar Bergman’s As a writer-director, Kaufman distrusts conventional engagement. Wisked to juvenile court by his uncaring mother, Pedro loses all passion for life: he kills a chicken during a schoolyard fight (a passionate lover of animals, he earlier protected a hen from his angry mother); the 20 pesos given to him as a test by the court’s thoughtful supervisor are stolen from him by Jaibo; and he all but guarantees his death when he violates the code of the streets and shouts before a group of children and adults that Jaibo was responsible for Julien’s death. Ignoring the warnings, and after a brief tour, they get stranded in the abandoned village. As she walks, a long, distended hand emerges from beneath the bed, looking supernaturally extended as it grasps at the meat. Jaibo kills Pedro and just as his mother finds love for her angelic child, Carmelo and Mecha throw his corpse into a rocky ravine. Subscribe to Senses of Cinema to receive news of our latest cinema journal.The plot concerns Jaibo and his associate, Pedro, and their efforts to evade punishment for Julian’s death. Carmelo scoffs at the boy’s pain: “He’s not coming back. A slithering snake. Though his viciousness is unflinching, Jaibo remains sympathetic if only because Pedro’s loss of passion must be indicative of Jaibo’s own journey to nothingness. Carmelo’s little wagon bears a sign that reads “me mirabas” (rough translation: “You looked at me”). He is the Id run amuck, acting out where Pedro instinctively recoils. As Pedro struts down the street in the direction of redemption, the horns suddenly turn dark, intimating the tragedy always lurking in this film, and as if on cue, manifesting from nothingness, Jaibo emerges, demanding the 50 pesos.Saul Austerlitz is a freelance writer based in New York City. Though Carmelo defends hungry parents who abandon their even hungrier children (“Extra mouths hinder!”), he is still seemingly aware that he must constantly “look” beneath his blindness at children who turn to evil when forgotten by their parents. And as much money as Disney has thrown at the production, it still looks like it was always bound for streaming services—with thoroughly unconvincing CGI work, disorientating editing that chops up the action, and a mostly wooden and disengaged performance from Liu as the eponymous character.These films show us utopias, dystopias, distant planets, and our own Earth destroyed.Ballard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness. The director found […] If the innocent Pedro (Alfonso Mejía) is the film’s Jack Dawkins, El Jaibo (Roberto Cobo, star of Arturo Ripstein’s excellent El Jaibo calls a young boy a “pansy” for not smoking and orchestrates a robbery against the blind Don Carmelo (Miguel Inclán), the film’s unlikely voice of reason. Directed by Luciano Onetti, Nicolás Onetti. Even before the creation of “tenet”—think of it as a philosophy and top-secret organization rolled into one—society was in communication with the future, as pointed out by exposition-delivering cypher Barbara (Clémence Poésy), through email and credit cards. Similarly, when they meet Death (William Sadler), a memorable character from Parisot is at least partially responsible for informing another far-out comic adventure with startling pathos, 1999’s During a mission at a Kiev opera house, a C.I.A. For what ultimately amounts to slim (in incident, if not necessarily in length) and predictable tales of ghostly infringement on quotidian life whereby the arcs and the outcomes are more or less the same, it’s the complete harmoniousness of the mise-en-scène that keeps them engrossing on a moment-to-moment level, unfolding less like crescendos to narrative surprises than wades through persistent and inexorable hauntedness.