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But, as is to be expected of Almodóvar, Much has been said about the casting of Hilary Swank, a cisgender actress, in this compassionate biopic of Brandon Teena, a trans man murdered in Nebraska for being himself.
Theirs is a relatively uncomplicated love story, nearly eclipsed by the messiness of the other characters in their orbit.
But that’s part of the fantasy—sometimes, falling in love really is as simple as that.
Wong Kar-wai’s metaphor for Hong Kong’s handover to China finds a couple adrift in Argentina, caught in the same abusive cycle that prevents either half from letting go.
As much a story of codependence as it is a study of rootless and shifting identities, both touches upon and sidelines its themes of homosexuality—groundbreaking for Chinese cinema in 1997—and focuses instead on the loss and regret of a relationship that can’t be saved.
It’s a snapshot of a moment in time and the restlessness and melancholy that invariably afflicts youth.