A psychological micro-drama that moves from the sanctuary of a domestic garden to the half-remembered shadows of a house, Clio Barnard’s Dark Glass peers back into a semi-veiled interior world of fraught, ambivalent memories. Shot on a mobile phone camera to accentuate a feeling of intimacy and immediacy, the flickering nature of the footage also emphasises the film’s uncanny, otherworldly quality.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
Here are some of our picks for inclusive Black love stories in film and media. We hope you enjoy these tender love stories and beautiful depictions.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
"Rodgers' & Hammerstein's Cinderella" wasn’t just a fairytale, it's a Black girl's fairytale. It was a fantasy world where the undeniable beauty of Black girls and Women was celebrated and beloved.
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.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
