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A ll Lucio Castro had in mind when he sat down to write a screenplay was an elegiac title — End of the Century — and a starting point: a figure arrives in a new city, in this case Barcelona. The dominant mood, however, is elliptical and disorienting: a kind of Last Shag at Marienbad. He is speaking from the terrace of his house in New York City, fighting to make himself heard over shrieking sirens. The setting seems appropriate given several crucial scenes in the movie take place on terraces or balconies. It is from here that the action flashes back to the same city two decades earlier, when the lives of both men, then in their 20s, were markedly different.
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See the full gallery. Title: 40 Days and 40 Nights His belief leads to obsession, as he puts his life on hold in order to trail her. Two LAPD detectives who moonlight in other fields investigate the murder of an up-and-coming rap group. A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
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End of the Century director: 'First, gay men have sex – then they go for wine and cheese'
The Playlist Staff. Got that? The picture is a morality drama about a greedy lawyer Fassbender , who finds himself in over his head when he decides to delve into the dark world of drug trafficking. Shit backfires and things go way south for said attorney. Before the film plumbs these sordid depths, however, there is a scene in the movie that has everyone talking.