Two boys meet as students in a punishing Peking Opera school in the 1920s and remain partners, friends and enemies for 50 years. It’s The Sunshine Boys with screechy singing, and one of the boldest, most beautiful Chinese films in a decade dominated by them. In the “Concubine” opera that becomes their trademark, stolid Duan Xiaolou (Zhang Fengyi) plays the emperor, luscious Cheng Dieyi (the late, great Leslie Cheung) the concubine. Yin and yang are the roles they assume offstage as well, as Xiaolou has an affair with a courtesan (Gong Li, the imperious queen of Chinese cinema) and Dieyi flirts with the satrap of the occupying Japanese government. Sexual politics gives way to political horror during the Cultural Revolution, when personal betrayal may be the one way to stay alive. Chen Kaige’s stately, volcanic epic was one of the first Mainland films to acknowledge that damage wrought by Maoism. Beyond that, it is a rich dramatization of the venial and mortal betrayals that are the secret, somber melodies of our lives.
What Sergei Eisenstein and other art-film pioneers said of the Walt Disney studio in the 1930s —that it was making the best movies on earth, by finding exciting new ways to perfect the art of visual story-telling —directors and reviewers say today of Pixar. John Lasseter and his team are bringing the same care and genius to computer-generated animation that Walt did with handmade drawings. Finding Nemo is, so far, the apotheosis of the Pixar style: the ultimate fish-out-of-water story, with a fretful dad (voiced by Albert Brooks) enlisting a forgetful friend (Ellen DeGeneres) to find his lost son. But all the Pixar features (Toy Story and its sequel, A Bug’s Life, Monsters Inc., The Incredibles) have the means of enthrallment. Pixar doesn’t make cute movies for kids. It tells universal stories through a graphic language so persuasive that children and adults respond with the same pleasure and awe. It’s as if the Pixar people have the first clue to the next, higher form of popular movie art.
The Foo Fighters captured five Grammys and Adele won four, including the song of the year trophy for “Rolling in the Deep,” at a Grammy ceremony that had the difficult task of celebrating music’s best while mourning the loss of one of their greatest, Whitney Houston.
From Nicki Minaj’s Red Riding Hood getup to Katy Perry’s head-to-toe blue ensemble, TIME rounds up some of the best (and worst!) sartorial choices at the annual music awards show.