Set in a world somewhere between Eisenhower's Fifties and the Jetsons' future, Speed Racer is the most extreme example yet of cinema trying to emulate its increasingly powerful rival, the computer game.
All three tell good stories in distinctive way, but, for each of the three filmmakers, the stories are a way to approach bigger game — the very definition of the inner life and the way that the cinema tries to get at it, make sense of it, and transform it.
Indeed, Sachs stresses the importance of non-gay influences on his work: as well as Fassbinder, Pasolini and Jarman, he was inspired by Cassavetes, Dogme and Derek Cianfrance's Blue Valentine; Haigh also cites the influence of recent straight "low-budget American cinema trying to do something more realistic".
Tabu director Miguel Gomes explains his rationale to the film site Hammer to Nail: "Fiction in Portugal in the 1970s – literature, but also cinema – tried to have a very didactic approach to the topic, wagging a finger at the viewer as if he was a child.
So we found ourselves sat on a red leather couch at the back of a cinema, trying to have a conversation.
The next time you're at the movie cinemas, try combine your candies into your popcorn.
If you want to see a film, try the Impero Cinema on Martyrs Avenue, a beautifully restored art deco monument, robed in the rich colours of a Roman emperor's toga.
Giovannesi: Well, clearer, I'm not sure... Cinema and especially the kind of cinema I try to make is based on one thing: the closeness to other human beings, a sense of empathy and the absence of judgement.
Unlike Ms. Passon, whose film serves to express something ineffable about her own experience, Mr. Kechiche is using cinema to try to access sensations beyond his comprehension.
It's partly because of Mr. Cage's backward-looking emphasis on borrowing techniques from cinema to try to tell better stories in video games.
