The film begins with a series of events on a crowded outdoor market street. Women on stages perform "private" rituals: shaving legs and armpits, fixing their hair, etc. A woman tries to disrupt their "work." She struggles to set herself apart from them, to resist the forces of habit, but gradually becomes more involved than she is willing to admit. Although she sets in motion a chain reaction of rebellion, she isn't able to keep the momentum going. She stops before carrying it to the logical conclusion, and ends up on the stage herself. Can we hold a knife without stabbing ourselves? Can we hold a knife without even thinking of doing that? And do we need knives?
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
An unlikely friendship changes the hearts of men, and helps a young boy come into his own.
What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.
Why is 'The Green Knight' so white? People of color are so removed from the origins of 13th century art. We’re looking toward the future, and part of that should be updating aspects of our stories to mirror those evolutions.
Love Hard is a Christmas romcom about two people who fall in love while pretending to date. It’s a romantic and fun watch. If you can forget the catfishing.
