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This documentary explores the sexual and social identity of contemporary black America through intimate, eye opening and often hilarious accounts from women and men who find love and community in the underground world of exotic dancing.
It is rare, though not unprecedented, for a woman to win the Best Actress Oscar for her first film role. Marlee Matlin did it most recently, in 1987, when her performance in Children of a Lesser God also made her the first and only deaf actress to win an Academy Award. When Julie Andrews was famously coronated with her Oscar in 1965, she was already an accomplished stage actress and had starred in Rodgers and Hammerstein’s live, made-for-TV version of Cinderella—but Mary Poppins was her feature-film debut. Perhaps the Best Actress race most relevant to this year’s category, though, happened exactly 50 years ago, when a first-time film actress who’d go on to play the title role in A Star Is Born took one look at the Oscar statuette in her hands and quipped, “Hello, gorgeous.” She’d lost the Tony for the Broadway run of Funny Girl, but an Oscar for the film version was a more than adequate consolation prize. Her name, of course, is Barbra Streisand.
A Star Is Born is not only Gaga’s big-screen debut but Bradley Cooper’s first outing as a director, and the whole thing crackles with watch-me-prove-you-wrong gumption. The movie knows that we know how easily it could have been a disaster, and part of the energy that surges through the first half of the movie comes from the people making it realizing that they (earnest, almost anachronistically passionate) were right and we (cynical, jaded) were wrong. In pulling off their respective evolutions into virtuosic filmmaker and unpretentious lead actress, Cooper and Gaga are not just playing against type—they’re playing against expectations.
In Abdellatif Kechiche’s Blue Is the Warmest Color (2013), newcomer Adèle Exarchopoulos gives a memorable performance as a young woman who becomes aware that she desires female companionship, and specifically the companionship of a mysterious, sexy blue-haired girl called Emma (Léa Seydoux, Mission: Impossible – Ghost Protocol, Spectre). The movie threatens at one point to collapse into stereotype, but then it recovers, passing through many years, charting the ups and downs of their relationship.
A wry, cynical romantic comedy with a good heart, Destination Wedding (2018) pairs Keanu Reeves and Winona Ryder, who have already proven their chemistry in several movies, dating back to Bram Stoker’s Dracula in 1992. They play Lindsay (Winona Ryder) and Frank (Keanu Reeves), strangers on their way to a “destination wedding” in San Luis Obispo; they instantly dislike each other, and argue in witty, barbed dialogue. Of course, they will eventually become irresistibly drawn to one another, and they relentlessly analyze their options even as fate takes a different course.
Possibly inspired by masters like Eric Rohmer and Yasujiro Ozu, writer/director Victor Levin frames the characters in sustained, chapter-like sequences, featuring the ridiculous planned events of the wedding, and breaks them up with lovely “pillow shots” to underscore the beauty of the scenery. It’s an unsung gem.
The movie, set in the future, centers on an abandoned girl found in a scrapyard. A compassionate cyber-doctor (Christoph Waltz) takes her under his care, doing his best to shield her from her mysterious past. A street-smart new friend offers instead to help trigger her memories. She sets out on a journey that will lead her to take on the injustice and find one woman who can change the world.