Ayhan Hanim tells the dramatic story of a family during the 1980 Coup that sadly marks Turkey’s recent history. Ayhan Hanım is a housewife who is not involved with politics. She has four sons. Her husband, Ahmet Bey is a retired sergeant. Ayhan Hanım, her husband and their youngest son stay out of the political turbulences, however, their three other sons are personally involved with the incidents in the chaotic days of 1977. After the coup in 1980, the family’s disintegration begins.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
The 100 imagines a future where humanity's overcome some of its most pervasive forms of prejudice—only to create new ones.
Growing up is a challenge for everyone.
This emotional, frightening, and dreamlike story examines the ways actresses are exploited in the name of art.
While the film didn’t hit me as emotionally as I wanted it to, I still enjoyed it. I simply wish there was a little more, particularly with the world building.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
