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Foner’s daughter, Maggie Gyllenhaal) whose bond is nearly severed by a summer distraction (Boyd Holbrook). In “Very Good Girls” the American screenwriter turned first-time feature director Naomi Foner tracks the relationship ups and downs of teenage best friends (a delicate, emotionally nuanced Dakota Fanning and Elizabeth Olsen, bringing to mind Ms. ‘Drive My Car’: In this quiet Japanese masterpiece, a widower travels to Hiroshima to direct an experimental version of Chekhov’s “Uncle Vanya.”.‘Passing’: Set in the 1920s, the movie centers on two African American women, friends from childhood, who can and do present as white.‘Spencer’: Kristen Stewart stars as an anguished, rebellious Princess Diana in Pablo Larraín’s answer to “The Crown.”.‘Summer of Soul’: Stevie Wonder, Mahalia Jackson, Mavis Staples and others shine in Questlove’s documentary about the Harlem Cultural Festival.Scott and Manohla Dargis, selected their favorite movies of the year. The sleaze also rises in “The Look of Love,” Michael Winterbottom’s flat look at the British sex-entertainment mogul Paul Raymond (Steve Coogan), whose twisted road from naughty to nasty was lined with coke and casualties. Whatever the case, titles like “Lovelace,” a thankfully nonexploitative biopic from Rob Epstein and Jeffrey Friedman about the life and depressing times of the “Deep Throat” star Linda Boreman, a k a Linda Lovelace (a very fine, vulnerable Amanda Seyfried), were among a number of entries that put sex front and center(fold). “Don Jon’s Addiction,” part of a strong lineup in the noncompetitive premieres section, was one of a number of movies that had attendees wondering if the programmers had sexed up the festival or the world at large had. In its current amusingly smutty state, the movie, which was picked up for distribution here, will probably face its own ratings battle. Gordon-Levitt explores what happens to Don Jon when he tries to settle down with a woman (a terrific Scarlett Johansson, doing one of her finest interpretations of a succulent peach), whose realness poses a challenge to Don Jon’s reliance on his plastic pleasures. Working in initially broad strokes that become progressively more nuanced as the narrative deepens, Mr.
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Pacino’s, while performing in a re-creation of the missing “Cruising” material.Ī self-aware exploration of masculine desire and cinematic representation, “Interior” would make an excellent double bill with another of this year’s best selections, “Don Jon’s Addiction.” Directed by Joseph Gordon-Levitt, who also stars as the title libertine, “Don Jon’s” pivots on a New Jerseyan whose addiction to pornography transcends his relationships with living, breathing women. “Interior” primarily turns on the on-set experience of Val Lauren, an actor who appears as himself and as an idea of Mr. Friedkin has said he had to cut to avoid an X rating. Franco and Travis Mathews, uses as its conceptual jumping-off point a lost 40-minute segment of “Cruising” set in a gay leather bar that Mr. Leather Bar.” is a serious yet playful hourlong deconstruction of the representation of homosexuality as viewed through the prism of “Cruising,” William Friedkin’s 1980 film about an undercover cop, played by a supremely jittery Al Pacino, searching for a killer of gay men. One of the sharpest, best surprises of the festival, which ends Sunday, “Interior. Leather Bar.” James Franco laughingly said that he had picked up his red Christmas sweater from Dockers - but, as at other screenings, there was more to that night than stargazing. Celebrities, freebies and brands remain part of the clamorous mix - after the premiere of his experimental short “Interior. Under the affable, low-key leadership of John Cooper, who took over as festival director in 2009, Sundance has firmly settled into a groove, one that places movies above buzz.
PARK CITY, Utah - This year’s Sundance Film Festival, marked by aesthetic ambition, a formidable female presence and enough on-screen sex to take the chill off, gives optimistic proof of the state of American independent cinema.