“Michael” and the Tension of Lacking Tension
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.

In the present stylised production by Lorenzo Mariani the 'violet-perfumed murderess' is taken by mezzo-soprano Marianne Cornetti, one of the most in-demand representatives of her vocal category. Opposite her, in the role of Adriana, is a soprano who as a Verdi and verismo specialist also appears regularly at all the major international opera houses, Micaela Carosi. The 'cock-of-the-walk' role is sung by the world-class tenor Marcelo Álvarez. His timbre, velvety smooth yet robustly virile, is ideally suited to a vocal characterisation of the idolised Maurizio. Conductor Renato Palumbo is very much at home with Cilea's operatic masterpiece, since the Italian Romantic and verismo periods are at the core of his extensive repertoire.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.
My Beautiful Laundrette is often referenced as a positive LGBTQIA+ film because our two main characters are in a homosexual relationship with no shame, fear of violence or criticism. The struggle is not their sexuality. It is the treatment of the Pakistani citizens in England.
A documentary film about a disabled female athlete who builds courage within herself and seeks faith.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.