
When a student from Aurora's true crime literature class is found murdered outside the diner where she works, Aurora takes it upon herself to figure out the real culprit.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
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.
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
In an all-black community in Louisiana, a young girl learns her father has committed infidelity and turns to hoodoo to seek justice.