The White Boy Saved Us All Again in Gladiator II
A direct fall into the white savior narrative

China, the world's most populous country, a booming new economic superpower. And now, after decades of official atheism, religious fervor is exploding in China, unleashed by government reforms. Part One: The Gods Come Home The Gods Come Home reveals the rebirth of the indigenous faiths of Buddhism, Confucianism and Taoism, and the revival of the local "folk religions" that govern village life. The government is wary of the power of religion, and is trying to both control and exploit this resurgence at the same time. Part Two: The Bamboo Cross Christianity is growing faster in China than anywhere else in the world. The Bamboo Cross follows the stories of a cross-section of Chinese Christians, from migrant workers to Bishops to rebel pastors, who have to make a choice between worshipping openly or in the shadows. They live in an atmosphere where "unofficial" and "official" churches proliferate side by side, both vying for the souls of one million new Christians every year.
A direct fall into the white savior narrative
Taika Waititi writes, directs and co-stars in 'Boy', set in 1984 New Zealand. The film does just what Waititi dreamed of — it gave a great coming-of-age story to Māori people without making a story of the Māori people as an exotic other.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
This coming-of-age movie based on the 1970 book by Judy Blume gives viewers a scope on female topics in the quest for a religious identity.
Hulu continues its Summer releases with The Princess. This film follows the princess (yes, she is unnamed) as she attempts to escape her tower, refusing to be wed to a cruel man vying for the throne. Action-packed and snarky, this is a decently fun film if you need a fighting fix.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.