
One hair salon. Seven haircuts. Seven experiences of exile. The documentary stars the owner of the salon, Fernando “Pablo” Mupapa, as he unfolds from the haircut ritual to open himself up to the voices and reports of immigrants from the Democratic Republic of Congo living in Brazil. Through a connection with Africa, the dialogues between Pablo and his clients recorded by the filmmakers reveal assertions of identity and the dream of an anti-imperialist revolution.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
With a quirky outline, Project Hail Mary stays within the bounds of human language and imperial fantasy.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
The Invitation takes a creeping look at two simple premises: reuniting with forgotten friends and new-age spiritualism. Though one seems a bit scarier than the other, the film heightens social awkwardness to a macabre level that puts an uncomfortable look on when the social taboo of grief is put on public display.
Like many things, like animals and people, they always evolve. When the first humans walked the Earth, they originated from Africa and were all black.