Ali Zaoua: Prince of the Streets (2001)

If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.

We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.

I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it. 

Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.

The Invite is witty, dramatic, funny, and probably the best comedy released this year so far. 

Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.