Italy’s oldest Carnival, memories, footages, a very powerful imagery rooted over the centuries in one city: Fano. A tradition, that of papier-mâché, and its float masters who, generation after generation, have been able to blend creativity, engineering and manual skills to build those traveling stages called floats. A character, named Vulón, encountering a child. He doesn’t know anything about the Carnival of Fano. No one better than a Carnival mask to walk him around through parades, costumes and sweets and to tell him that after all, Carnival is more than a simple celebration: it’s a feeling, a state of mind that warms the heart of a city and of the territory around. And while the carnival week is getting to an end, somebody is up and ready for a new beginning…
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
Welcome to Ryan Reynold's world. Dwyane Johnson, Gal Gadot and us are just living in it. Is he acting? I think he is, it's just the question of it's believable anymore.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
In an all-black community in Louisiana, a young girl learns her father has committed infidelity and turns to hoodoo to seek justice.
Elio could be seen as fantastic piece of representation, showing lonely children who feel ostracized that they are not alone. That is, unless you look behind the curtain.
At first glance, Black as Night is a strange title choice for a film about vampirism in post-Katrina New Orleans. However, the title alludes to the world's anti-black and colorist messages.
