'Elemental'
This Disney Pixar movie is based on the elements air, fire, water, and earth.

When marketing exec Lucy learns that she’s inherited her grandfather’s year-round Christmas store, “Forever Christmas," she makes a trip back home to support the store during its final Christmas season before she sells it to a hip athletic leisurewear company. But once she is back in Vermont, she begins to understand why her grandfather's shop is so special with the help of local diner owner, Scott and the magic of a Christmas stranger from the north.
This Disney Pixar movie is based on the elements air, fire, water, and earth.
When most of us think about diversity in film, we usually think about three things: race, gender, and disabilities. However, there is a forgotten topic... age. These are 12 of the best films about growing old.
For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.
Fire Island is the more inclusive film of the two with the bi-phobic definition of pansexuality in The Thing About Harry and its obvious lack of colour on screen
Sisters Mia and Emma discover and hunt down a unicorn with magical blood and want to protect it.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.