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Late Autumn (1960)
Overshadowed it may be compared to Yasujirō Ozu’s other family dramas, but Late Autumn’s examination of marriage and remarriage in mid-century Japan still finds fresh emotional textures in its colour cinematography, intertwining love, duty, and generational bonds.
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Star Wars: Episode III – Revenge of the Sith (2005)
For all the flaws that plague the Star Wars prequels, very few can detract from the operatic descent into darkness that Revenge of the Sith ushers in, seeing George Lucas embrace the melodrama, myth, and political allegory of his epic saga to craft its most tragic chapter.
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Star Wars: Episode II – Attack of the Clones (2002)
As a grown-up Anakin Skywalker begins to break beneath the weight of duty and desire in Attack of the Clones, George Lucas thoughtfully recaptures the mythic tension of the original Star War trilogy, exposing the corrosive, insidious decay that eats away at the heart of democracy’s heroes, institutions, and ideals.
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Star Wars: Episode I – The Phantom Menace (1999)
George Lucas’ myth-making ambitions are undoubtedly bold in The Phantom Menace, serving as a visually and narratively uneven foundation to the darker chapters ahead, yet resolutely daring to ignite the slow-burning fuse of the Star Wars saga’s most tragic, fateful transformation.
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Floating Weeds (1959)
It might seem redundant for such a formally consistent director to remake an early success, yet Floating Weeds stands as a powerful testament to Yasujirō Ozu’s artistic evolution over the decades, imbuing this fable of fading relevance and fractured families with an elegant, melancholy maturity.
