In the course of a year, Yahya loses three brothers. To survive the sorrow he has built a hut in the forest. There he can live out his fantasies and meet them again. Yahya gets one last chance to talk to them, touch them, capture them, carry them and be carried by them.
Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.
This showcase of Hollywood’s finest talent will certainly be around come awards season, and much deserved
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.
