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In true ‘90s underground manner, Dunye enlisted the photographer Zoe Leonard to make an archive of your fictional actress and blues singer. The Fae Richards Photo Archive consists of 82 images, and was shown as part of Leonard’s career retrospective with the Whitney Museum of Modern Artwork in 2018. This spirit of collaboration, and also the radical act of creating a Black and queer character into film history, is emblematic of a ‘90s arthouse cinema that wasn’t fearful to revolutionize the earlier in order to produce a more possible cinematic future.

“You say towards the boy open your eyes / When he opens his eyes and sees the light / You make him cry out. / Saying O Blue come forth / O Blue arise / O Blue ascend / O Blue come in / I'm sitting with some friends in this café.”

This is all we know about them, but it really’s enough. Because once they find themselves in danger, their loyalty to each other is what sees them through. At first, we don’t see who has taken them—we just see Kevin being lifted from the trunk of a car, and Bobby being left behind to kick and scream through the duct tape covering his mouth. Clever child that He's, though, Bobby finds a method to break free and run to safety—only to hear Kevin’s screams echoing from a giant brick house over the hill behind him.

Like Bennett Miller’s a single-person doc “The Cruise,” Vintenberg’s film showed how the textured look from the reasonably priced DV camera could be used expressively inside the spirit of 16mm films within the ’60s and ’70s. Above all else, although, “The Celebration” is an incredibly powerful story, well told, and fueled by youthful cinematic Strength. —

The climactic hovercraft chase is up there with the ’90s best action setpieces, and the tip credits gag reel (which mines “Jackass”-stage laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan set himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble from the Bronx” there was no turning back. —DE

Duqenne’s fiercely determined performance drives every frame, as being the tin boy homo gay sex alex is loving the sun on his naked restless young Rosetta takes on challenges that not a soul — Allow alone a child — should ever have to face, such as securing her next meal or making sure sweet russian minerva gets access to a slim jim that she and her mother have jogging water. Eventually, her learned mistrust of other people leads her to betray the a single friend she has in order to steal his occupation. While there’s still the faintest light of humanity left in Rosetta, much of it's got been pounded from her; the film opens as she’s being fired from a factory job from which she needs to be dragged out kicking and screaming, and it ends with her in much the same state.

William Munny was a thief and murderer of “notoriously vicious and intemperate disposition.” But he reformed sex and settled into a life of peace. He takes just one last job: to avenge a woman who’d been assaulted and mutilated. Her attacker has been given cover by the tyrannical sheriff of a small town (Gene Hackman), who’s so determined to “civilize” the untamed landscape in his own way (“I’m building a house,” he regularly declares) he lets all kinds of injustices transpire on his watch, so long as his individual power is protected. What is to be done about someone like that?

“Acknowledge it isn’t all cool calculation with you – that you’ve got a heart – even if it’s small and feeble and you will’t remember the last time you used it,” Marcia Gay Harden’s femme fatale demands of protagonist Tom Reagan (Gabriel Byrne). And for all its steely violence, this film incorporates a heart as well. 

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No matter how bleak things get, Ghost Canine’s rigid system of perception allows him to maintain his dignity while in the face of deadly circumstance. More than that, it serves like a metaphor for the world of unbiased cinema itself (a domain in which Jarmusch had already become an elder statesman), as well as a reaffirmation of its faith within the idiosyncratic and uncompromising artists who lend it their lives. —LL

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Established within the present day with a Daring retro aesthetic, the film stars a young Natasha Lyonne as Megan, an innocent cheerleader sent to the rehab for gay and lesbian teens. The patients don pink and blue pastels while performing straight-sexual intercourse simulations under the tutelage of an exacting taskmaster (Cathy Moriarty).