Best Movies about Secret revealed

Movies about Secret revealed

When Lacey Schwartz applied to Georgetown at age 18, she left the “racial identity” box unchecked, but did submit a photograph, and not long after she was accepted at the university, she was invited to join the black student association. The problem? Schwartz had been raised in a white Jewish household, by a mother who told her that her darker skin and kinky hair were due to her dad’s roots in Sicily. After a few months in college, Schwartz learned the truth: that she was the product of a tryst between her mother and an African American man.

Schwartz’s documentary Malá bílá lež is about more than just her family’s biggest secret. The film is a highly personal inquiry into the construction of racial identity, considering how others’ perceptions change depending on who they believe a person to be. But a big part of the appeal of Malá bílá lež is tied to its hook, because there’s something inherently dramatic in the story of an individual discovering that everything she thought she knew about her life was wrong.

The nine documentaries and feature films below offer a few more examples of how moviemakers have handled similar excursions into the sometimes-dark, sometimes-tangled roots of family trees.

Melting Pot

Tajemství & Lži (1996): Longtime movie buffs may read the description of Malá bílá lež and think immediately of Mike Leigh’s 1996 drama Tajemství a lži, which became one the British filmmaker’s biggest hits worldwide (and the recipient of five Oscar nominations, including one for Best Picture). A subtle study of race and class in the UK, Tajemství a lži has Marianne Jean-Baptiste playing a successful young black optometrist named Hortense, who goes searching for her birth mother, working-class wreck Cynthia Purley (played by Brenda Blethyn) who’s been sponging off her kindly younger brother Maurice (Timothy Spall). Leigh’s choice of profession for Hortense is no accident. When she arrives in the Purley’s lives, she helps them to see how they’ve been taking each other for granted, and hiding their true feelings. This is an often-intense film, but with an ultimately positive take on ripping open old wounds so they can heal properly.

In the clip below, Leigh talks a little about how he applied his usual improvisational methods of developing a story to make the inter-family dynamics in Tajemství a lži silnější.

A Rodina Věc (1996): Though it lacks the arthouse credibility of Tajemství a lži, the Hollywood melodrama Rodinná věc does feature superb lead performances by Robert Duvall and James Earl Jones. The two play, respectively, an aging southerner and an aging Chicagoan, who discover that they’re half-brothers, and are subsequently forced to confront their biases and grudges by their elderly aunt (played by Irma P. Hall). The situation’s contrived, but the script by Tom Epperson and Billy Bob Thornton — whose Sling čepele would be released a few months later — still comes across as a lot more sensitive about the hard barriers between races in America than most feel-good fare will acknowledge. And as the two men learn about each other, they begin to understand more about the parts of their lives that have always seemed incomplete.

Osamělý star (1996): Whatever it was that was in the air in 1996 also infected stalwart indie writer-director John Sayles, whose best and most popular film Lone Star has its own fascination with complicated racial and family histories. While investigating a murder mystery, a Texas border town sheriff (played by Chris Cooper) dredges up some truths that the locals would prefer to forget, about violence, payoffs, and secret deals between the leaders of the black, white, and Mexican communities. Sayles’ films tend to unfold like novels, all the way to their endings — he’s one of the best “enders” in independent cinema — and Lone Star’s no different, with a rich narrative that culminates in a shocking revelation about the hero’s father, suggesting an even deeper meaning to the movie’s story of race relations at the edge of America.

Projekt Siskel & Ebert review below praises Sayles’ finely wrought, thoughtful script:

Do temnoty

Zachycení ο Friedmans (2003): Long before Jinx, documentarian Andrew Jarecki proved his true-crime bona fides with this haunting, harrowing film, about a family torn apart in the late 1980s when its patriarch is arrested for buying child pornography. As the criminal case played out, with ever-more-horrifying charges filed, various Friedman family members shot home movies of their increasingly bizarre everyday life. Jarecki assembles these — alongside some interviews from decades later — into an unsettling account of how the stain of one man’s guilt spreads across one seemingly happy, well-off Long Island family, causing them to question their own memories and their sense of self.

Projekt Oslava (1998): A magnificent fusion of form and content, Thomas Vinterberg’s searing drama takes the style of the upstart Danish film movement “Dogme 95” — which insisted on handheld cameras and natural light — and applies it to the story of an embittered grown son who’s determined to use the occasion of his father’s 60th birthday party to reveal the old man’s long history of sexual abuse. The truth catches most — but not all — of the family by surprise, and for the rest of the weekend, the clan first stubbornly denies and then comes to accept that their leader is a pathetic monster. Vinterberg captures these changes in jittery, stark images that make everyone appear all the more exposed.

Běžný (2013): An unexpected hit — and Oscar-winner — writer-director Pawel Pawlikowski’s gorgeous-looking black-and-white period-piece follows what happens to a novice nun named Anna (played by Agata Kulesza) after she learns that her real name is Ida Lebenstein, and that she’s the daughter of murdered Jews. Běžný works as both a mini-history of a changing Poland from the 1940s to the 1960s a as a coming-of-age story for a woman who’s spent most of her life in an environment that discourages individuality. As she discovers her family history and experiments with sensual pleasure, Anna/Ida asks herself the question that so many of the men and women in these films do: “Who jsou vy?»

Journey through the Past

Dcera od Danang (2002): Unlike Lacey Schwartz, the Tennessee-raised Heidi Bub always knew the basics of her genealogy: that she was the daughter of a Vietnamese woman and an American soldier, and that she was sent to the U.S. to be adopted when she was six, due to the sociopolitical turmoil in her homeland. In Dcera z Danangu, this polite middle-aged southern lady decides to visit her birth mother back in Vietnam, but quickly becomes overwhelmed by the poverty, and by the assumption that now that she’s come home, she’s going to become her mom’s financial support. A lot of stories about adopted kids have heartwarming conclusions, but Heidi’s saga is more of a nightmare, as she discovers cultural chasms too wide to be bridged by blood alone.

My Architekt (2003): The rare first-person documentary that’s also elegantly conceived, Nathaniel Kahn’s Můj architekt is his attempt to understand the choices made by his absentee father, Louis Kahn, an accomplished artist with a disastrous personal life. The younger Kahn doesn’t uncover the kind of sordid details that some filmmakers have when they’ve dug into their family dirt, but he does think about whether he, his mom, and his half-siblings were all some kind of necessary sacrifice that Louis Kahn had to make to design such beautiful buildings.

In the TED Talk below, Nathaniel Kahn follows up on his documentary with more thoughts on how and why he made it:

příběhy We Říci (2012): The documentary that may have the most in common with Malá bílá lež started as kind of a lark for actress-director Sarah Polley, who looks at the life and loves of her late mother and considers the rumors that she — Sarah — was the product of infidelity. The more Polley explores, the more unpleasant truths she has to face; and the more she realizes that she’s breaking the heart of the man she’s always known as her dad. Příběhy řekneme means to be a meditation of sorts on how families mythologize themselves, sometimes at the expense of honesty. But in a way the film’s more philosophical elements are a defensive mechanism, keeping Polley at arms’ length from questions about marriage and genetics that she’s still nervous about answering.

Noel Murray je spisovatel na volné noze, který pravidelně přispívá do Rozpustit, Klub AV, Los Angeles Times, a Valící se kámen. Žije v Arkansasu se svou ženou, dvěma dětmi a nikdy nevypnutou televizí.

Looking for movies about people with secrets that get revealed and fear being viewed as ‘scary or weird’ to their friends but have that one friend who doesn’t care.

Hey everyone, this is my first post in this subreddit and I hope I’m not breaking any rules. Lately I have been craving movies with a specific theme, which I cannot describe easily as you can see by the title.

Example: Clark Kent in Smallville whenever one of his friends realize he’s an alien and has powers. Most of the time, instead of being scared and see him as a monster, they tend to understand him despite him thinking they would no longer want to be associated with him.

ex: H2O, a tv show with girls that change into mermaids when touching water, hiding their secrets and realizing that their friends don’t really care in the end. Not my type in particular but the same idea I am looking for.

ex: Lucas, a more recent movie in the same vein as H2O.

Finally: I guess any superhero movies where the hero unveils themselves to a friend and is expecting a big reaction of some kind. But on a more intimate level than the famous ‘I am Iron Man’

Edit — More examples

ex: The little vampire, a movie about a little vampire boy that makes friends with a regular human boy and their family learn to accept each other.

ex: Casper and Wendy, a bit more of a stretch but they start by fearing each other for being a ghost/a witch but then learn to accept each other.

ex: Also under a similar vein, when the person unveils their secret, their friends don’t take it very well and they have to convince them that they are still the same person as before even though their secret may be strange or scary. Over time they get to learn that they have always been this way and that knowing about the secret doesn’t change anything.

I am open to TV shows as well as movies.

If this is not the place to ask for this sort of thing, let me know and I will pack my things swiftly

Top 10 Hidden Movie Secrets That Make the Movie Better

VOICE OVER: Ryan Wild WRITTEN BY: Ricky Manson
These blink and you’ll miss them moments make their respective movies that much more entertaining! For this list, we’ll be looking at Easter eggs or moments of foreshadowing that may have been missed on a movie’s first viewing. Our countdown includes X Marks the Spot, Nick Fury’s Epitaph, Starbucks Cups, and more!

Script written by Ricky Manson

Top 10 Hidden Movie Secrets That Make the Movie Better

Don’t blink, you might miss it. Welcome to WatchMojo, and today we’ll be counting down our picks for the Top 10 Hidden Movie Secrets That Make the Movie Better.

For this list, we’ll be looking at Easter eggs or moments of foreshadowing that may have been missed on a movie’s first viewing. Since some of these secrets give away key plot details, a spoiler alert is in order.

#10: Nooses on the Billboard

„Zrodila se hvězda“ (2018)
This Lady Gaga led reimagining of this musical classic maintained the gut-puncher of an ending, but though this adaptation presented a new take on the male lead’s tragic suicide, the method was quite literally signposted early on. When viewers are introduced to Bradley Cooper’s Jack, he and his driver pass a colorful rainbow billboard adorned by nooses. It’s an easily missed yet poetic hint towards the film’s climactic scene which sees Jack dispatch himself from this world with a makeshift noose of his own. The rainbow backdrop may also serve to highlight how Ally’s music career flourishes as Jack’s fizzles out, and this same symmetry is displayed as Jack’s decision is cut with Ally’s successful concert. As heartbreaking today as it’s always been.

#9: X Marks the Spot

«The Departed» (2006)
They didn’t call it “The Departed” for nothing. Throughout the movie, many characters face grizzly ends, but only a handful of viewers may notice the “x”s present somewhere in a shot with a character destined to die. A string of main players from Costigan to Costello, and yes even Sullivan, all meet their maker after being “crossed out” at multiple points throughout this thrillingly violent game of Whac-A-Mole. Scorsese has gone on record to not only acknowledge the red flags, but also admit that it serves as an homage to the original “Scarface,” which used the same technique to foreshadow character deaths. It’s a cool visual Easter egg, but also symbolizes that these men are marked men. Talk about getting caught in the cross-fire.

#8: The Breakfast Scene

“Reservoir Dogs” (1992)
The calm before the storm, we spend ten quiet minutes over breakfast with our team of jewel thieves before everything is set to go south. Though seemingly random on the surface, in hindsight this scene tells us everything important to know about our three leads: Mr. Pink’s refusal to automatically tip shows his pragmatism and apathetic way of doing things, Mr. White sticking up for the waitresses shows his compassionate side that will be his undoing, and Mr. Orange ratting out Mr. Pink to Joe is a clue of his informer status. Tarantino also makes clever use of some props at the warehouse to hint that Mr. Orange is separate from the others. All in all, creative ways to show a man’s true “colors.”

#7: Parroting TV Dialogue

«Baby Driver» (2017)
For a kid that’s almost deaf, Baby is certainly quick on picking things up. While watching TV with his foster dad, the young getaway driver flips through several movie channels and later repeats all of the dialogue he hears back to different members of his heist crew. None of them seem to get the references, save for an infuriated Doc towards the film’s climax. It’s one of the hundreds of tiny clues that litter the film, in a style that has become a trademark of director Edgar Wright; he used similar audial tricks over a decade earlier with his first hit “Shaun of the Dead,” when Ed inadvertently lays out the whole plot beat-for-beat.

#6: The Loop

„Věčný svit neposkvrněné mysli“ (2004)
For the uninitiated, Charlie Kaufman’s reverse-love-story sees a broken couple erasing their memories of each other, only for them to meet up down the line and get back together despite knowing it will probably end badly all over again. It’s a sweet note to end on, but the implications of that decision are eerily touched on in the film’s final seconds: The last shot of Joel and Clementine running through the snow repeats itself three times, implying the pair will repeat the cycle of memory erasures and getting back together for the rest of their lives. The interpretation is different depending on if you’re an optimist or a pessimist, but it’s like they always say: if at first you don’t succeed, try, try again.

#5: Nick Fury’s Epitaph

«Captain America: The Winter Soldier» (2014)
Samuel L. Jackson has played everything, from cops and robbers to Jedi masters and shark food, and though he’s known to audiences these days as Nick Fury, the role that defined him remains that of Bible-quoting gangster Jules Winnfield from “Pulp Fiction.” Rather than disregard the actor’s mature iconography when taking on a family blockbuster, the Russos instead chose to pay tribute to Jackson’s legacy by adorning Fury’s fake grave with Jules’ favorite Bible verse. It’s a clever nod to the OG BMF, and fans went nuts for it. The Russos even took it up to eleven when they picked Fury’s final word during Infinity War’s famous dusting.

#4: The Overlooked Carpet

«Toy Story» (1995)
These days Pixar has become famous for its abundance of Easter eggs, from the animator’s classroom number A113 to the Pizza Planet van, but the film that started it all saw the creators pay tribute to one of their collectively favorite horror masterpieces. When we leave the safety of Andy’s room and venture into the home of infamous toy torturer Sid, fans of “The Shining” will notice the carpets of the house are adorned with the same pattern featured on some floors of the Overlook Hotel; a clever way to emphasize the terror that awaits Woody and Buzz within these walls. The carpets in the house may signal bad news, but the kid’s living inside it could have been a lot worse.

#3: Two Denny Crooks

«Pulp Fiction» (1994)
The first time around it’s easy to forget about the opening diner robbery after going through the ensuing and seemingly unrelated tirade of burgers, boxers, and black medical books. But it masterfully comes back into relevancy in the final scene as we discover that Yolanda and Ringo are robbing the diner where Jules and Vincent are trying to unwind their rough morning with some breakfast. But going back to the first scene, the evidence is there: Jules can be heard laughing in the background, and Vincent can be seen walking by their table on the way to the restroom. Seems like every time that fool answers nature’s call, the proverbial dookie hits the fan (Vincent’s death scene).

#2: Starbucks Cups

«Klub rváčů» (1999)
Coffee, coffee everywhere, nor any drop to drink. Following the success of his cult phenomenon “Fight Club,” David Fincher revealed that there is a Starbucks cup in every shot of the film. The presence of the famous twin-tailed mermaid helps to aid the film’s social satire regarding consumers and their codependent relationships to corporations. The search for cups has also become something of an Easter egg hunt among die-hard fans, and the fact they are hidden throughout the film further illustrates the point that branding has become so common in our world we don’t even notice it’s there. Genius work from Fincher, though it’s not the first time he’s hidden little secrets in plain sight: but let’s not get “ahead” of ourselves.

Než odhalíme náš nejlepší výběr, zde je několik čestných uznání.

Lethal Weapon Reunion
“Maverick” (1994)

E.T. Senators on Coruscant
“Star Wars: Episode I – The Phantom Menace” (1999)

Pac-Man on the Monitor
«Tron» (1982)

Twin Pines Becomes Lone Pine
„Návrat do budoucnosti“ (1985)

Twins & Triplets in the Agent Program
«Matrix» (1999)

#1: Orange Is the New Whack

«Kmotr» (1972)
“Reservoir Dogs” was not the first movie that attributed this color to bad news! Orange is notorious for being synonymous with death in Coppola’s cinematic masterpiece. Vito Corleone is buying oranges from a street vendor during the attempt on his life, and he finally succumbs to old age in his garden among the same fruit. But the curse doesn’t just apply to the Godfather himself. Either the fruit or color is present to mark several characters for death, including Luca Brasi, Paulie, Sal Tessio, the Heads of the Five Families, Rocco, and even Jack Woltz’s horse. This now-famous trend carried over into Coppola’s two sequels, with oranges being handled by dead-men-walking Don Fanucci and Michael Corleone among others. Nothing personal boys, it’s just business.

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