Yara (2021): An Unfocused True Crime Narrative
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.

Yan (55) is an honest government official. His wife, Rachel (55) is a philosophy professor at a leading university. They have three children who are very different in character. The oldest, Firman, the weakest, just get divorced and in idle condition. The second, Satria, a young contractor, has big ambitions to grow his business. Satria certainly be the golden boy of the family. And the last is Dian, the youngest, beloved of all family members, has been engaged to Hassan, a member of Parliament who is young, hungry and has a lot of connections to government officials. Stress due to rumors around him, Yan decides to resign. Soen does not understand what is going with his son. She also gets stress and then is hospitalized. Soen finally died. Family’s life is changed quickly and become more gloomy and not as warm as before. Money change all: the family’s values begin to collapse and reveal the falsity around them.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
Middle school best friends reunite in middle age - Magalie is a chaotic free spirit “freeloader”, Blandine is a divorcée “sourpuss” with severe depression. The Palm Beach Film Festival opening night was glamorous for “Two Tickets to Greece”, the first screening of the French film in the United States.
Writer and producer of 'Remember Me: The Mahalia Jackson Story', Ericka Nicole Malone discusses her humble beginnings in the industry.
Guillermo del Toro's masterwork "Pan's Labyrinth" stands test of time as it celebrates 20th anniversary in theaters.
Unlike other documentaries about Princess Diana, Perkins’ film, 'The Princess', is an entire documentary consisting of media coverage and public opinion, rather than a typical series of people interviewed with firsthand experience of the Princess. 'The Princess' beautifully depicts how we perceive Diana as a media figure rather than a real person, specifically creating her persona as a fairytale figure turned saint and icon.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.