The Discreet Insensitivity of ‘Slumberland’
The cultural insensitivity of 'Slumberland' is discreet, and can be easily overlooked in CGI extravaganza.

Through the words of a grandmother, the memories of her sewing machine, the children’s songs, and the drawings on the wall, the filmmaker reenacts an ode where she becomes her child self and her grandmother at the same time. The foremothers’ songs and the colorful fabrics weave the stories of distance, longing, and loss.
The cultural insensitivity of 'Slumberland' is discreet, and can be easily overlooked in CGI extravaganza.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.
Spoiler Warning
The second season arrives over three years after its first. While late on arrival, most audience members will be happy.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.