ShareTweet At intervals throughout the 1990s, writer-director Whit Stillman quietly unveiled the loose trilogy Metropolitan (1990), Barcelona (1994) and The Last Days of Disco (1998). Chronicling the lives and loves of the “urban haute bourgeoisie,” a hitherto little-known species Stillman anatomized with equal measures earnest identification and affable chastisement, these low-key films were filled with
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