All Too Well: The Short Film and the Hysteria
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.

Titiek, a widowed “dangdut” singer, has adoptive children, Ateng and his older sibling, Enny. Meanwhile Eddy Sud, a widower whose collection is 90 per cent “dangdut” songs, has a daughter, Vivi, whose Ateng had relationship with. Their parents don't approve of the romance between Ateng and Vivi, so they keep their relationship a secret.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
'Airplane Mode' is a young adult movie that is about a woman who learns to step away from her smartphone, and from social media.
The major flaw of the series is that it’s hosted on Netflix and barely makes malicious comments about it despite being focused on the lives of people directly affected by the Capitalist mentality of the OTT corporation.
Growing up without a dad, I got a lot of my fatherly advice from the prototypes I saw on the silver screen. It’s these characters and films that gave me a glimpse into a dynamic I had never known but also made me realize that I was missing out. Here are my top 10 paternal films.
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.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.