Reflecting on 'The United States vs. Billie Holiday'
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.

Lourenço is the son of Francisco Figueiredo, a soccer coach in the beginning of a very promising career. Everything goes well: Francisco's team is in the Portuguese Cup final and Lourenço is going to be class valedictorian in a very prestigious private high school. But everything starts to collapse. Francisco is fired and Lourenço must transfer to a public high school whose students are predominantly from a ghetto near Lisbon. While Lourenço is fighting to fit into a new and harsh reality, he also helps his father find his lost dignity. Hope is a strange place.
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.
The Rocky Horror Picture Show not only supported Tim curry queer individuals who were closeted or harassed. It made people question their identity, orientation, and lifestyles that they never had before.
Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.
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.
A cat-and-mouse chase that will make viewers nostalgic for the cartoon series.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.